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THERION have always been a band that have challenged themselves to explore new paths, while remaining true to their musical core values. For their 17th studio album, mastermind Christofer Johnsson and his collaborator Thomas Vikström have created something that has been previously unthinkable to the guitarist and the singer. "We have done the only thing that was left of all the different angles to explore", explains Christofer. "We have decided to give the people what they kept asking for. 'Leviathan' is the first album that we have deliberately packed with THERION hit songs."

True to the Swede's words, the album opens with the catchy and swift tune 'The Leaf Of The Oak Of Far' featuring female and male antiphonal singing as well as a choir that seems to have evolved straight out of THERION's breakthrough full-length "Theli" (1996). This is immediately followed by the obvious highlight 'Tuonela', in which Christofer cleverly underscores this hit-track's Finnish vibe by employing NIGHTWISH’s "metal voice" Marko Hietala. Next up in this parade of future fan-favourites is the title track 'Leviathan' that offers classic THERION material with operatic female vocals and a massive choir.

Christofer Johnsson's passion for classic voices, choirs, and orchestral elements as well as his penchant for epic melodies in combination with rock and metal shines clearly through the following sing-along ballad 'Die Wellen Der Zeit', which indicates another nod to German romantic composer Richard Wagner. "Ever since 'Theli', Wagner has been and will always be at the core of THERION", emphasises Christofer. "When we started to combine metal and opera, it was something new and original. Today, symphonic metal has long been a firmly established genre." When THERION came into being in 1988 by changing name from the already existing band BLITZKRIEG, which was founded a year earlier, Christofer had rather taken inspiration from SLAYER's "Reign In Blood" among other classic metal albums.

At the beginning, the Swedes were firmly rooted in death metal, a genre which they helped to define, as witnessed by their debut album "Of Darkness...." (1991). Yet even back then, there were hints of "something else" lurking beneath the rough surface. The use of female vocals is another core ingredient of THERION today, which developed gradually. CELTIC FROST had basically introduced the female element to extreme metal on "To Mega Therion" in 1985. THERION began with both a female and male vocalist emulating a church like choir already in their sophomore full-length 'Beyond Sanctorum' (1992). With Symphony "Masses: Ho Drakon Ho Megas" (1993) and "Lepaca Kliffoth" (1995), Christofer continued to developed his trademark sound by gradually drifting towards cleaner vocals and more keyboards.

With "Theli", the Swedes had firmly established a reputation of pushing the boundaries of metal in the 90s –among such acts as their compatriots TIAMAT, THE GATHERING, and MOONSPELL that were often referred to as "gothic metal" at the time. THERION continued to break new ground leaving inspiration for others to follow in their wake: On "A'arab Zaraq -Lucid Dreaming" (1997), Christofer further explored the use of Near Eastern music in metal which he had already begun in 1992, while "Secret Of The Runes" (2001) dared to have Swedish lyrics in some songs.

While critics were left confused and fans challenged, THERION were often ahead of their times and vindicated in hindsight. Even the band's 25th anniversary excursion "Les Fleurs Du Mal" has by now overcome the initial shock the album caused and is only beaten in terms of streaming by the classic "Vovin" (1998). When Christofer faced the question of where to go next after the dramatic "Beloved Antichrist" (2018) had finally fulfilled his musical mission, his answer is "Leviathan" named after a giant sea monster from Judeo-Christian myth that has roots in Babylonic lore: THERION have created a giant hit album –and for the first time in the history of the Swedes, their fans are not asked to explore something new, but simply to lean back and enjoy the best from their band!

2021 has been an incredible year so far for Jessie Ware. ‘What’s Your Pleasure?’ re-entered the Top 10 following a brilliant Graham Norton performance of ‘Remember Where You Are’ which has proved itself to be one of Jessie’s most connective singles to date. In addition, Jessie has two BRITs nominations, one for Female Solo artist and one for Album Of The Year – the category with a historic four women up for the award. On 28th April Jessie returns with a brand new single ‘Please’ taken from the upcoming deluxe release of ‘What’s Your Pleasure?’ officially titled as ‘What’s Your Pleasure? The Platinum Pleasure Edition’. Released on 11th June, the album features 6 brand new songs and more.


Her newest track, ‘Please’ sees Jessie continue the energy of ‘What’s Your Pleasure’ in the form of a throwback to 70s and 80s dance music, and pulls it together in a wonderfully anachronistic style, all packaged with Ware’s outstanding vocals. The track fits perfectly into ‘What’s Your Pleasure - The Platinum Pleasure Edition’, Ware’s deluxe offering of her sensational 2020 record. This edition still bears the cohesive, complementary songwriting, the killer grooves and flawless production of the original version. The Platinum Pleasure Edition only serves to heighten the rich and powerful soul of last year’s release with tracks like Please, 0208 featuring synthpop visionary Kindness, the Endless Remix of ‘Adore You’ and a whole host more.

Talking about the upcoming deluxe and new single Jessie said: ”I had such an amazing response to the ‘What’s Your Pleasure?’ record that I didn’t want the lights to go up and the party to be over just yet! ‘Please’ is full of optimism and ready to be played in a place where we can all be together and flirt, dance, touch and kiss. A wonderful excuse not to stop the party from ending.”

It’s safe to say that the last twelve months have been pretty stellar for Jessie Ware. June 2020 saw Jessie release ‘What’s Your Pleasure?’ and gain not only her fourth UK Top 10 album of her career, but also her highest charting record when it entered straight into the UK Official Album Charts at No.3. As if this wasn’t amazing enough, she went on to release her first cookbook and continued her immensely popular podcast Table Manners and recently hit a massive milestone of 21 million individual listens, oftentimes featuring household names such as Dua Lipa, Kylie Minogue, Yungblud, Robbie Williams, Alanis Morissette., Dawn French and Dolly Parton to name a few.

Last year saw the album continue to receive widespread critical acclaim, with ‘What’s Your Pleasure?’ featuring heavily amongst ‘album of the year’ lists including for music critic Anthony Fantano, also known as The Needle Drop, who gave What’s Your Pleasure?’ the coveted no. 1 spot on his ‘Best Albums of 2020’ list, declaring it to be “a religious experience”. The record garnered praise from The Guardian who say it’s“Ware’s finest record yet"; Rolling Stone laude it as a “fantastic dance-pop record”; Pitchfork say “Jessie reminds us why we listen to dance music in the first place.”, GQ proclaim it as “the perfect album” and NME stated it was“pure escapism.”

The sun, kissing the forehead through half-closed blinds; the night, coming uninvited through a windowpane like a damp, sticky shroud. Light and darkness, solid foundations and elusive glimpses of parallel realities. Armies of digital insects - taken aback by warmth of one brave heart, 90s chillout rooms updated for todays vast and desolated space full of fragile souls desperate in their look for any kind of communion; “artificial intelligence” after three decades of wandering, trying to finally find a helping hand, solace and peace. Shimmer and shine. Welcome to “Pristine”, a new recording from the mind of Jacek Sienkiewicz.
For the past years Jacek has been escaping his image of relentless producer and performer of driving, multi-layered club music. His most recent works include deep ambient records, abstract electro-acoustic experiments, and super smart, stripped-down yet incredibly complex contemporary electronica. The last few records, mostly on his own label Recognition include albums with Max Loderbauer and Atom™, reinterpretations of works by Bogdan Mazurek of the legendary Polish Radio Experimental Studio, scores for radio plays and last year’s massively overlooked “Krasz”, music for theatrical performance of Ballard’s/Cronenberg’s “Crash”.
“Pristine”, a labour of love, is at times abstract and atonal, at times breathtakingly beautiful and tender.
8 tracks written and performed in Jacek’s unmistakable, singular style, and covering many grounds - abstract, electronic forms, neo-classical wonders, super tight compositions and freeform, jazz-like improvisations and stripped-down rhythms. Different moods, machine-translated and reverseengineered in a variety of recording locations, make up this exceptional record.
Shimmer and shine, immerse and enjoy.
Co-Financed By The Minister Of Culture And National Heritage of Poland.
The project has been implemented in co-production with Recognition Records and the National Centre for Culture of Poland

The one that almost got away… A track that many thought would be destined to remain on only the most select of DJs USBs, Kieran Hebden finally clears the sample on one of the most talked about tracks of last year ‘Looking At Your Pager’. Released on yellow vinyl with a full picture sleeve and backed with another massive KH earworm from the vaults ‘Only Human’.

Flipping the script on 3LW’s 2000 R&B heater ‘No More (Baby I'ma Do Right)’, Four Tet, under his KH alias, works that untouchable magic on the sample in true Hebden fashion. Taking that peachy vocal snippet and looping it up to the high heavens with a chest rumbling, wobbler of a bass synth and skippy garage beat you’re treated to a Four Tet warper of gargantuan proportions, finally officially released via Ministry of Sound Recordings under the title ‘Looking At Your Pager’.

In Kieran’s own words, "This track was made in the summer last year just before my first festival set in a long time. I wanted something new to play that would feel universal, positive and futuristic and this is what I came up with.

"Since then I think more people have asked me about this track than for anything else I've ever made and I've had amazing times playing it to the best crowds you could ask for. It took quite a while to get approval for the vocal sample but it finally happened recently and now the music is out in the world for everyone."

Over the course of his six-decade-long career, Dr. John embodied a near-mythic multitude of musical identities: global ambassador of New Orleans funk and jazz and R&B, visionary bluesman, rock and roll innovator, one-time top 10 hitmaker, self-anointed and massively revered high priest of psychedelic voodoo. On Things Happen That Way, the six-time Grammy-winning Rock & Roll Hall of Famer otherwise known as Malcolm John “Mac” Rebennack Jr. reveals yet another dimension of his cosmically vast musicality: a lifelong affinity for classic country & western, whose songs he first encountered via the 78 rpm records frequently spun at his father’s electronics shop. Things Happen That Way arrives as the latest and final studio album from an artist who remained wholly unpredictable, alchemizing the charmed simplicity of traditional country into a wildly enchanting body of work.



Things Happen That Way marks the fulfillment of a longtime goal of the legendary singer/songwriter/pianist, who first began plotting a country inspired album decades ago. In bringing his album’s songs to life, Dr. John drew on a lineup of musicians befitting of a universally beloved luminary who worked with the likes of Van Morrison, the Rolling Stones, B.B. King, Etta James, and artists as diverse as Aretha Franklin, Ringo Starr, and Eric Clapton. Along with an elite cadre of New Orleans session players, the album’s personnel include icons Willie Nelson and Aaron Neville, as well as label mate singer/songwriter Katie Pruitt and country-rock powerhouse Lukas Nelson & Promise Of The Real. True to an artist whose music “transcended race and cultural divides”—as Black Keys frontman Dan Auerbach proclaimed in presenting Dr. John his lifetime achievement award at the Americana Music Association Honors and Awards in 2013—Things Happen That Way reflects both a rich sense of history and a boundless passion for defying expectation.

We are happy to release another vinyl 12“ with Carsten Halm adding up to the series we have released with him so far. This ep marks the end of the series, but not the end of the relationship with Carsten. Carsten has been very successful with his releases on Traum starting with his "Taubenflug" ep in June 2020 followed by "Fuchsbau" and "Hammerhai". As we stated with his first ep: „His music has the unique quality to bring people together and experience something very positive“. Carsten showed this quality with all of his eps and last but not least this also makes him a popular DJ. Carsten plays clubs all over Germany but he still sticks to his roots and organizes parties in his hometown Cologne in his own dedicated space which he has rebuild with his friends after it was destroyed last year.

The fourth vinyl release with Carsten Halm "Licht Und Schatten" highlights another cover design by graphic designer Daniela Thiel and shows collages of the animals in a similar graphic context as his previous releases. The idea was to keep the graphic idea of the series but to use only artifacts of his previous designs to create a new cover.

The ep kicks off with "Licht" a track that has the quality to embrace you emotionally as well as musically with a massive warm and widening synth sounds that is a true a-side tune.

"Chimäre" instead is more jumpy and good natured, resulting in a nice break to carry the listener throughout the track.

"Schatten" kicks off with a rather dry drumming but in the course of the track is joined by a merry melody which is pushed aside by a bad ass rectangle synth sound that inflates the track with a techno spirit that is very welcomed at open airs.

The ep closes with the track "Notes" a horse ride though valleys of sparse vegetation with a happy sad Morricone inspired soundtrack that is very easy to like.

"Since 2004, ALTER BRIDGE has been one of the most consistent bands to successfully represent the rock and metal communities with their driving melodies, blazing guitar riffs and topical lyrics that resonate with fans around the globe. Their seventh album, Pawns & Kings, continues that trend with 10 unforgettable new additions to their catalog. Coming off the launch of what was shaping up to be one of the band’s pinnacle moments with Walk The Sky (#1 US Billboard Top Albums, #1 US Current Rock and Hard Music, #4 UK Official Charts, #1 UK Independent and Rock/Metal, #5 Official German Album Charts), everything came to a halt as the world would forever be changed due to the events of a global pandemic. The time the members of ALTER BRIDGE spent apart sparked a new fire and heaviness when the quartet comprised of Myles Kennedy on vocals/guitars, Mark Tremonti on guitars/vocals, Brian Marshall on bass and Scott Phillips on drums would reconvene for what would eventually become Pawns & Kings. Teaming with longtime producer and collaborator Michael “Elvis” Baskette, the album shines with massive, menacing arena-ready production while emerging as another sonic testament to the seasoned Kennedy/Tremonti songwriting dream-team. The band deliver three epic anthems, including two that clock in at over six minutes – the reflective and absolutely epic title track “Pawns & Kings”, grim-riffed, progressive influenced “Sin After Sin”, and the emotive eight-and-a-half minute journey “Fable Of The Silent Son.” “Silver Tongue” is backed by a punishing intro riff that gives way to one of the band’s most infectious choruses as Myles Kennedy sings, “Truth of a crime. You can’t outrun. Under the spell of my silver tongue,” while tracks like “Holiday” and “Season Of Promise” ebb and flow within the trademark multi-faceted metallic rock attack that has enchanted ALTER BRIDGE fans for a generation. Songs like “This Is War,” “Dead Among The Living” and “Last Man Standing” showcase the heavier side of a band firing on all cylinders, with soaring leads, hair-raising vocals and introspective lyricism abound. Mark Tremonti helms lead vocal duties on the uplifting track “Stay” – an interchanging of skills that first debuted on the band’s fourth album, Fortress, and continues to this day. Nearly 20 years into their celebrated career, one thing is for sure – Pawns & Kings offers a musical snapshot of a band that shows no signs of slowing down and continues to push itself creatively for the whole world to see. before peaking with a frenetic, metallic bridge-breakdown and piercing solo worthy of rock legend.

Limited deluxe edition of 999 copies - 2xLP comes with a gatefold sleeve
and a massive 20-page booklet cram packed with photos, memorabilia,
and in-depth liner-notes of the wild tales from back in the day
Subliminal Sounds proudly presents ALEXANDER LUCAS! The long- lost music
and history of the groundbreaking and legendary Swedish hard rock/proto-metal
band active between 1969 and 1976. This mind-blowing 2 LP set contains their
extraordinarily rare self- financed 1973 single Speed/ Svarta Skogen (The Black
Forest) that was issued on the custom record label Efel, plus tons of killer
previously unreleased recordings. A dream come true! The thoroughly researched
booklet documents the band's long history, including their early incarnations and
different line-ups. The pioneering young group performed an extreme number of
gigs with their amps cranked up to the max at youth halls all over the country, and
it was through performing their skilled, innovative, raw hard rock that ALEXANDER
LUCAS became very popular and influential among the long-haired stoner teens,
eventually graduating to bigger venues. ALEXANDER LUCAS is the latest sizzling
heavy meatball in our tasty series "The Swedish Hard Rock Underground: A
Smorgasbord of Heavy Sounds!"

Consisting of a single massive song in 12 individual parts, plus pulse
quickening overture and truly grand finale, La Luna is an unprecedented
artistic achievement by one of contemporary music's most ambitious and
consistently surprising practitioners
Daniel Romano sets his visionary poetry to exuberant tune - It is epic,
immaculately and extravagantly arranged, and truly cinematic (a full length film of
La Luna starring fellow You've Changed Records recording artist Julie Doiron in
the lead role will debut in the fall of 2022.)
La Luna is a hymnal or scroll for modern seekers, brought to life by the
impeccably skilled Outfit, with swagger and joy, including star turns on lead
vocals by Julianna Riolino, and newest member Carson McHone (Merge Records)
in addition to Daniel's own powerful vocals. Transcendently melodic, undeniably
classic and shockingly contemporary, La Luna synthesizes teachings from the
sacred texts of rock and roll and psychedelic-folk (Beatles, Fairport Convention,
even the Stones, Queen….) into a new testament for a new time.
La Luna arrives in a beautiful double- tip- on gatefold jacket, featuring original
artwork by Daniel Romano and the full verse and measure of the lyrics.

For Fans Of : The Black Keys, Otis Rush, J.B. Lenoir, The Ramones, Hound Dog Taylor, Christone Kingfish Ingram, Magic Sam. GA-20 clearly is on to something big. It’s a movement, a new traditional blues revival. The dynamic, throwback blues trio are disciples of the place where traditional blues, country and rock ‘n’ roll intersect. “We make records that we would want to listen to,” says guitarist Matt Stubbs. “It’s our take on the song-based traditional electric blues we love.” Stubbs, guitarist / vocalist Pat Faherty, and drummer Tim Carman have been at the forefront of this traditional blues revival since they first formed in 2018. It’s no wonder they skyrocketed to the top of the Billboard Blues Chart. According to Stubbs, “Since we started the band we’ve focused on the story, the melody, and on creating a mood. Playing live as much as we do, we’re finding more and more that people are discovering how cool it all is. Traditional country, soul and funk music have all had these massive recent revivals, but traditional blues so far has not.” With their new Colemine album, Crackdown, and an intensive tour schedule, that’s all about to change. On Crackdown, GA-20’s third full-length release, the band creates an unvarnished, ramshackle blues that is at once traditional and refreshingly modern. Expanding on their previous releases (2019’s Lonely Soul and 2021’s Try It…You Might Like It! GA-20 Does Hound Dog Taylor) GA-20 finds inspiration on the edges of the genre, where early electric blues first converged with country and rock ‘n’ roll. The album’s nine original songs include the loping, Louisiana-flavored Dry Run, the dirty, and bare-bones Easy On The Eyes and the melodic, garage-tinged Fairweather Friend. With tight, propulsive performances and a brevity and punk energy reminiscent of The Ramones, Crackdown is rowdy and fun, filled with instantly memorable, and well-crafted songs. Tracks: 1. Fairweather Friend 2. Dry Run 3. Easy On The Eyes 4. Crackdown 5.Just Because 6. By My Lonesome 7. I Let Someone In 8. Double Gettin' 9. Gone For Good 10. Fairweather Friend (Final Goodbye)

"Fasten your seat belts - THE NEW ROSES are back! After touring with world famous artists like Scorpions, Saxon, Accept and Tremonti, the quartet around Timmy Rough will release their fifth studio album, entitled Sweet Poison, via Napalm Records on October 21, 2022. Musically, the band delivers stadium rock that would make the likes of Bon Jovi proud! With their most recent previous release, Nothing But Wild, the band entered the top 10 of the German album charts, but the band isn’t letting off the gas yet. Bevor they will embark on an extensive headliner tour in autumn, they will support none other than the legendary Judas Priest in June, Foreigner and rock icons KISS on their way to the top of rock! Their newest offering, Sweet Poison, starts off with the brilliant, guitar-driven anthem “My Kinda Crazy” providing a taste of what’s to come before blasting into authentic rock-meets-Americana tracks like “Playing With Fire” and “Sweet Gloria”. Massive track and album highlight “Warpaint” stages the band’s raw power with blazing guitar riffs and powerful drumming, while “The Usual Suspects” and “1st Time For Everything” convince as smooth sing-along hymns with catchy hooks. Tracks like “Dead Of Night” emerge with gloomy power, building atop a distinct melody and leading into a strong anthemic chorus, while THE NEW ROSES offer their softer side with songs such as “All I Ever Needed” – a mighty mid-tempo rock ballad showcasing the band’s vulnerability while reviving emotionality alike some of Guns N’ Roses most touching ballads. Frontman Timmy Rough passionately serves the full range of his voice on the track, also impressively evident on lyrically tender acoustic offering “True Love”. Sweet Poison is an outstanding rock album providing hit after hit and anthem after anthem, taking 80s retro rock to an extraordinary new level. Brace yourself as THE NEW ROSES shift into high gear, taking you on a ride towards the horizon of stadium rock!!

South Street delve into the The Sound Of Detroit from one of its unsung heroes, reissuing Amp Fiddler's 'Motor City Booty' LP on Yellow & Blue vinyl respectively. Coming straight off the D Funk assembly line, it's a full on dance floor affair from Motown to P-Funk, Techno and Neo Soul.

This 12 track album produced by Amp Fiddler & Yam Who? includes the massive 'Soul Fly' sounding like a Mark Ronson production had he been hanging out with George Clinton's Parlet followed by the bonafide P-Funk anthem 'Steppin' both featuring the stunning vocals by the Dames Brown girls.

Amp Fiddler is credited for taking both a young J Dilla and also Q-Tip under his wing teaching them his Akai MPC techniques, setting the path for some of Hip Hop's finest recordings which have defined the shape of things to come.

His musical collaborations & current duties include: Moodymann's musical maestro, keyboard wizard for Theo Parrish's live band, a longstanding Funkadelic member, co-writer for Sly & Robbie, Prince, Maxwell, Jamiroquai & Seal to name a few.

Like Sun Ra's Arkestra and John Coltrane are to jazz, the Mystic Revelation of Rastafari are to reggae – the ultimate expression of roots music and Rastafarian ideology in reggae music, music functioning at a high level of spiritual consciousness combined with an equally avant-garde and forward-looking approach to sound.
The group's stunning, unique and groundbreaking 1973 album ‘Grounation’, a mighty conceptual triplealbum (the first ever reggae triple!) is, similar to Marvin Gaye's 'What's Goin' On', a definitive allencompassing cultural statement of its time and place. A sprawling album of raw and unique cultural expression that combined Rastafari consciousness with deep spiritual jazz music – an absolute and essential classic of Reggae music.

The Mystic Revelation of Rastafari group came into existence at the start of 1970s, the union of two artists (and groups) of equal repute – Count Ossie and his African Drums and saxophonist Cedric ‘Im’ Brooks’ and his group,

The Mystics. Both Ossie and Brooks were alumni from the great Studio One Records. Master drummer Count Ossie and his collective of Rastafarian drummers performed for Haile Selassie on his
momentous visit to Jamaica in 1966. Cedric Brooks came out of the Alpha Boys School – the fertile breeding ground of musicians who dominated the Jamaican music scene from the 1960s onwards; Tommy McCook,

Don Drummond, Johnny Moore, Headley Bennett, Johnny Osbourne, Yellowman, Leroy Smart, Bobby Ellis, Joe Harriott, Eddie Thornton, Vin Gordon, Rico Rodriguez, Owen Gray, Leroy ‘Horsemouth’ Wallace and more.

The Mystic Revelation of Rastafari’s ‘Grounation’ is a massive opus, a work of profound musical genius that tells the story of Jamaica through music and words. The album is a cornerstone in the history of reggae, a unique and other-worldly album the like of which has never been made since.

Soul Jazz Records are releasing this long-revered album release in two unique vinyl formats: a one-off pressing limited-edition deluxe box set triple-vinyl edition complete with a free 45 single + art print + an exact-replica reproduction Mystic Revelation 1977 mag/zine + download code; And secondly as a triple album + download
code. There is also a deluxe 2 CD version
complete with large format booklet encased in
double-walled slipcase. All editions come with
extensive new sleevenotes, photography, exact
reproductions of the original text and artwork

Freestyle dig out another rarity in the form of a DIY brit-funk 7" from Highway Motion aka David Humphrey (a session drummer who played with Sparks, and with PiL on the iconic Metal Box LP & Death Disco 12"). Tinged with raw post-punk edge and 70s library music-style synth leads, this 45 is quite simply massive amounts of fun.

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David Humphrey's professional career as a drummer began aged 19 with Public Image Ltd, providing some of the drum tracks on their iconic Metal Box album and Death Disco single. Humphrey would then go on to work with Mike Oldfield and then Sparks, playing with the latter on their Number One Song in Heaven tour, Top of The Pops and recording sessions for Beat the Clock and Tryouts for the Human Race (those sessions were included and featured in Edgar Wright's recent film 'The Sparks Brothers).

In 1980, Clap Hands and Double O One Disco were recorded under the name 'Highway Motion' - intended by Humphrey as "raw experimental tracks" they were both laid down on a 4-track and subsequently released on the DIY Star Records imprint. Rough, grooving, candid and playful; these two tracks seem to somehow simultaneously meld the burgeoning brit-funk sound of the early 80s with a riotous post-punk edge, along with a good dollop of synth-led library music.

Following it's release David formed the group Reflex, recording and releasing the Funny Situation 7" in 1981 - forming the only other title in the Star Records catalogue. A more straight-up brit-funk dancer yet still pressed and sold in small quantities, Funny Situation became a sought-after record on the second hand collector's market, and finally saw reissue last September 2020 on the start-up Paint A Picture label - garnering plays from from Gilles Peterson on BBC 6 Music and Worldwide FM, StreetSounds radio and reaching No 1 in Juno records Chart. David has now started to working on new music using the name Davey H, and released his first new material in decades recently on Six Nine Records.

We are proud to present he latest from Turbo Recordings Executive Honcho Tiga, a massive ode to passive-aggressive income remixed by Héctor Oaks, Der Zyklus, and Decius.
“No one wants to work their body anymore,” says the Montreal merrymaker from atop a throne in the exact shape of a digital wallet. “I get it. Who wants their surplus sweat equity vacuumed up off the dance floor by corporate parasites when the real future’s in decentralized skanking? But that’s why people in my position - the top one-percent in terms of nightlife and hospitality take-home pay - have to offer real benefits to risking it all in the clubs. I’m talking dance-move insurance, competitive drink ticket packages, and - most of all - the kind of brick-and-mortar bangers Rhythm Nation was founded upon back in 1814.”
While gratingly content with the original version, Tiga has nonetheless chosen to flood the Marketplace of Ideas with a plurality (3) of voices he feels will optimally position this release in today’s unforgiving Neo-Centrist landscape. This stunning grassfed vinyl 12” opens with a remix by Berlin-based vinyl-only DJ Héctor Oaks, who has been described as “operating at the absolute vanguard of rave.” Please remember that describing people this way is basically injecting them with Imposter Syndrome.
The release also features a remix by Der Zyklus, an alias of Gerald Donald, the epochal genius from Drexciya, Dopplereffekt, Japanese Telecom, Abstract Thought, Zerkalo, Zwischenwelt, and many other fantastic projects. Finally, Decius closes out the EP with all the British Mischief you might expect from UK luminaries from Trashmouth Records, Fat White Family, and Paranoid London.
"I’ve designed my entire life around the concept of ease,” adds Tiga. "I never wanted to work for a law firm. I wanted to make beats for a law firm. I’ve always been selfemployed, and that why my street cred’s off the street charts. And I’ve let as much of
that freedom trickle down to the audience as I can. Because when it comes to music,
there’s no such thing as an acceptable minimum wage. You gotta know that you gotta
give it all you got or you’re gonna get got.”

“If you can’t say it, you don’t have to,” sings John Fullbright on “Bearden 1645,” the opening track to his new record “The Liar,” out September 30, 2022. The song details Fullbright finding refuge in playing the piano, starting as a child and still today. For fans, it may feel like a bit of a rebuttal to “Happy,” the opener from 2014’s “Songs,” one of several in his repertoire that speak explicitly about mining one’s angst in order to make music. In that way, “Bearden 1645” is also a firm nod to the fourth wall: Fullbright knows you’re thinking about his songwriting. He is, too…but not quite the way he was before. The public at-large hasn’t heard much from him since the critically lauded “Songs,” a chasm of eight years that seemed unthinkable for an artist with so much hype surrounding his early career. Why did it take so long? “Honestly, I don’t know, and that’s been the scariest question to think about and the hardest one to answer,” Fullbright said. Maybe it was a tacit rejection of mounting industry pressure, mixed with a little fear. Or maybe it was the adjustment to a massive upheaval of his way of life. Whether we bore witness or not, it’s been a critical period of change for Fullbright, now in his 30s. Since his last release, he moved out of rural Oklahoma—the aforementioned Bearden has a population of about 130 people—to Tulsa. Once there, he worked to build a place for himself in the context of an established and vibrant musical coterie, performing often as both a bandleader and, more curiously, a sideman: storied loner John Fullbright lugging a piano from this small stage to that one with an uncharacteristic looseness. “It’s been a process of learning how to be in a community of musicians and less focusing on the lone, depressed songwriter…just playing something that has a beat and is really fun,” Fullbright said. “That’s not to say there are no songs on this record where I depart from that, because there are, but there's also a band with an opinion

Monster Truck tick all the musical boxes that have garnered the Hamilton-based band a reputation as one of Canada’s hardest-hitting rock outfits, live and on record.

On Monster Truck’s fourth full-length album Warriors, the band (bassist and lead singer Jon Harvey, guitarist Jeremy Widerman, keyboardist Brandon Bliss, and former drummer Steve Kiely), take their signature, riff-driven brand of rock to new heights and bombastic lows. With blazing shared riffs, massive gang vocals, and an ‘all for one, and one for all’ spirit, Warriors reads like a mission statement; one that telegraphs the tireless work ethic Monster Truck has displayed since starting out in 2009, as well as where they’re at and where they’re heading, sonically, in the future.

Subb-an returns to 20/20 Vision with 'State Of Flow' featuring vocals from Oli Gosh (Crosstown Rebels). Ash Subhan has been an integral part of the deep house and techno scenes over the last decade and more with releases for One Records, Spectral and Culprit.

'State Of Flow' is a beautiful slice of deep techno that incapsulates atmospheric layers of melodies and vocals with powerful bottom heavy bass and percussive floor control. SOF is the first collaboration between Subb-an and singer songwriter Oli Gosh and has resulted in new directions and musical landscapes.ASOF comes complete with remixes from Adam Pits and Armec.
Adam Pits delivers a devious little gem aimed at dance-floor destruction that winds it's way between a heavy garage bassline and 90's four to floor house rhythms, fragmenting the vocal around an increasingly unhinged and infectious groove. It's fusion served at it's finest and a super fresh sound perfectly placed for the current club scene.

Armec accentuates and expands the immense power hidden in 'State Of Flow' by breakin' the beats up and adding heavily swung filtered loops snaking around a massive bass. The Armec remix comes complete with a twist to its tale with the additional of a magnificently wobbly arpeggiated synth twisting our melons into a right old state.

'Body Riddle', ein Highlight des frühen Clark-Katalogs, von Produzenten wie Arca, Rustie und Hudson Mohawke als massgeblicher Einfluß bezeichnet, wurde unter persönlicher Betreuung von Clark neu für mehr Dynamik remastered und erscheint erstmals wieder seit 16 Jahren.

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BIO: Chris Clark arbeitet seit 20 Jahren mit Musik und Ton. Schon in jungen Jahren wurde er von Warp Records gesignt und veröffentlichte bis dato 13 Alben und eine Vielzahl an EPs und Singles. Sein jüngstes Studioalbum 'Playground In A Lake' für das Klassik-Label Deutsche Grammophon verschmolz sein Markenzeichen, die elektronische Musik, mit den Streichertönen des Cellisten Oliver Coates, der Geigerin Rakhi Singh und des Budapest Art Orchestra.

Nach seiner ersten Filmmusik für die Sky/Canal+ TV-Serie 'The Last Panthers' schrieb Clark die Scores zu 'Rellik' (BBC1/HBO) und das Drama 'Kiri' (Channel 4/Hulu). Kürzlich lieferte er die Filmmusik für Apple TV+ 'Lisey's Story', basierend auf Stephen Kings gleichnamigem Roman, sowie für 'Daniel Isn't Real', einem psychologischen Horrorfilm von Spectre Vision, der Produktionsfirma des Nicolas Cage-Kultfilms 'Mandy'. Dieser OST wurde ebenfalls von der Deutschen Grammophon veröffentlicht.

Chris arbeitete mit der Choreografin Melanie Lane zusammen und vertonte 12 zeitgenössische Tanzprojekte, darunter die Aufführung ihres Soloprojekts 'Tilted Fawn' im Sydney Opera House und zuletzt 'Personal Effigies', das im März 2018 mit dem Kier Choreographic Prize ausgezeichnet wurde, sowie 'WOOF' für die renommierte Sydney Dance Company.

Chris' umfangreiches Verzeichnis an Remixen für Künstler wie Thom Yorke, Massive Attack, Depeche Mode, Max Richter, Battles und Nils Frahm wurde 2013 als Doppelalbum 'Feast / Beast' veröffentlicht.

'What's always set Clark apart is his eclecticism, dynamism, and flair for the dramatic... His tracks don't drop as much as they slip or swerve... He'll end a techno album with eight minutes of beatless, sky-cracking ecstasy and it will make sense. He's allergic to the idea of standard sounds and presets. And unlike many of his more insular peers, Clark can be open to sentimentality — not schmaltz — as much as a belief in humanness and all its inexact wonder. In electronic music's never-ending battle between man and machine, he's seeking a third way.' - Pitchfork

Egyptian artist Hassan Abou Alam debuts on Nehza Records. On Ice, the producer and DJ delivers a 4-track collection of unusual textures that glide through multiple soundscapes, including techno, breaks, bass and unclassifiable noise.

The opener "Shmoolaire" starts with a skittery drum pattern before descending into a squelchy bassline while squeaky vocal clips snake through the track. It's weird, wonky and the perfect dancefloor curveball. Dominated by massive drums, the title track blends a sultry vocal with bleepy percussion, conjuring a sticky atmosphere. Things get spooky on "Hollow In C#" as Hassan pairs a voice saturated in reverb with chugging drums and eerie pads. Freaky but fierce. The closing track "Lost In A Jar Of Thyme" ends on a distinct note. A warbling bassline slithers throughout the track as siren-like sound FX and hyperactive drums evoke tension. A true artist aligned with the vibe of Nehza Records.

Hassan Abou Alam has spent the last decade exploring several sound palettes and genres, from breaks to techno to bass. Today, his curiosity is unwavering. Hassan produces music with a hybrid setup of analog and digital instruments, conveying organised but compelling chaos that's won him legions of fans worldwide.

Toronto-based musician and producer David Psutka aka ACT! (fka Egyptrixx / Anamai / Ceramic TL) will release his latest project ‘Strange Bounty / About Life’ for his own Halocline Trance imprint.

‘Strange Bounty / About Life’ is Psutka’s debut album proper as ACT! following the release of the “sonic mixtape” ‘Universalist’ in 2018 and the augmented reality soundtrack ‘Grey Matter AR’ in 2021; a series of Snapchat filters created by artist Karen Vanderborght and soundtracked by ACT! which explored the poetic and existential potential of AR and social media.

The new album represents a refinement of aesthetic and compositional ideas that exist across Psutka’s various projects and collaborations. It is a bold blend of new psychedelia braided with ecstatic groove. It’s a collage of physical sound, composition and freeform electronics that is simultaneously original, bold, and balmy whilst retaining a certain timeless familiarity and the obvious, indelible hallmarks of Psutka’s creative vision.

“‘Strange Bounty / About Life’ is in some ways my most refined record. The previous period of solo material was quite experimental and spontaneous, whereas this was written slowly and with more intentionality, and as a result, feels very clarified. Robin Dann of Bernice, and Alanna Stuart of Bonjay both contributed lovely vocal work to the record and it was written and performed primarily on guitar. I think it is fair to call this an 'experimental guitar record'.” David Psutka (ACT!)

On opener ‘Oblivion Shuffle’ synths trickle and squelch beneath vintage arcade bleeps, an off-kilter rhythm and mournful vocals. The palette of faintly dystopian electronics, unnerving ambience and scorched, wonky rhythmic pulses reoccur across the album on tracks like ‘Separation Code Is Togetherness Meta’, ’50 Million Motives For Making’, ‘Peace Javelin Heaven Bound’ and ‘Street Racer’.

Elsewhere on the record the guitar is more obviously prominent, and its presence allows the thematic subtleties of ACT’s music to flourish. It becomes clear after numerous listens that there is a push and pull at play across the whole project; one of optimism vs existentialism, of anxiety vs hope - a consistent theme of Psutka’s back catalogue. The track titles themselves even begin to reveal juxtaposition contained within and a deeper inspection of the lyrics reveals more.

‘Lotto’ and ‘Rebuild Your Body’ and title track, ‘Strange Bounty / About Life’ all feature slick classic soul hooks, silky vocals and smooth Balearic guitar licks over the idiosyncratic beats and distinctive electronic instrumentation. A perfect melding of the two seemingly disparate stylistic directions on the album. A real testament to the refinement promised by Psutka on this project.

In addition to ACT!, Psutka has released music with numerous projects including Anamai, Egyptrixx and Ceramic TL, he has collaborated widely with artists such as Junior Boys, Ipek Gorgun, and Kuedo as well as Jessy Lanza (2016) and an official remix for Massive Attack’s ‘Hymn of the Big Wheel (2012). The contributions on this album, from Robin Dann and Alanna Stuart, reflect the deeply collaborative nature of the Halocline Trance label and the Toronto creative scene more broadly.

Many of Psutka’s releases have received critical acclaim from media outlets such as Pitchfork, Exclaim, The Quietus and Resident Advisor. As a live performer, he has toured extensively including performing at Sonar Festival, Roskilde, Mutek, MOMA PS1 Warm-UP and CTM Festival. He’s also presented sound installations at various institutions such as Galeria Civica Commune di Modena, and Art Gallery of Ontario (AGO).

In 2015, Psutka launched Halocline Trance as a home for his various sound projects, events and collaborations. Now a creative collective and label, it has grown to include a diverse array of artists including Casey MQ, Xuan Ye, Myst Milano, Colin Fisher and others. The label is described as “genre-agnostic” and conceptually open, supporting work across a wide spectrum of creative fields including soundtrack recording, AR design and traditional artist albums. Their impeccable roster also includes, theorist/improviser Eldritch Priest, and AR/VR artist Karen Vanderborght. In recent years, Halocline Trance has established itself as a platform that facilitates many of Canada’s most exciting creative music projects. Many of the releases have received critical acclaim from outlets including Pitchfork, Exclaim, Bandcamp and Resident Advisor.

Grey Marbled Vinyl

Clear water hits the surface of a grainy ball. The stream slowly dissolves and flows down the spherical structure until it finally drops on a candle. The flame extinguishes; fragile streaks of smoke ascend until they hit the rough surface of the colossal globe again.
The cover art to Marble Arch, the second long-player of Vienna- and Berlin-based artists Oberst & Buchner, depicts masterly the dramatic juxtapositions the musicians have always been reflecting in their musical outcome.
The massive density of a giant sound wall is contrasted by spacious openness. Fragile sonic details are sparkling out of colossal pitch-black clouds. The songs are filled with gentle warmth and cold roughness, bright digital clarity and deep analogue crackle, ranging in style from pulsating dark-disco over classic pop to experimental ambient.
The duo's two-week artist residency in a 250-year-old house, located in the mystic landscape of the Bavarian woods set this specific mood for the 10-track album which became a mixture of electronic synthesis, organic instrumentals and field recordings. Heavy-weight basslines in combination with bitter-sweet orchestral instrumentation and the minutiae of precise percussion recordings and drum programming are the characteristics that formed the sound of Marble Arch.
Oberst & Buchner's way to deal with tension is in how they compose their song structures as extreme arcs of suspense in a near classical manner. Their intense dynamic arrangements always alternate between rise and explosion or implosion and fall. This way the compositions pick up the motive of creation and destruction throughout the long-player in the same way as the cover-art.
Taken together, all these fragments form the duo`s signature cinematic articulation of dramatic slowed down club music and moments of surprise.

BIO
Oberst & Buchner are two friends and musicians living in Vienna and Berlin. They look back on a mutual musical journey that is as rich in variety as it is more then 15 years long. For one thing, countless high-energy DJ sets in clubs and at festivals all over Europe in recent years have earned them a reputation as a dynamic duo infernale. At the same time, their own productions draw from the full palette of moods and emotions.
Boiled down to the very essence, there's one common denominator running through the duo's musical works: colossally massive elements are masterfully set against a shimmering backdrop of incredibly detailed layers. Each so full of subtle suspense that they feel like the first raindrops before a monstrous thunderstorm. You can literally hear the calm before the storm in every break they build up, then feel the force of the wind in your face when it hits you.
Ranging from pulsating electronica over slow organic sounds derived from both nature and acoustic instruments to deep dance pop ballads, their songs are full of suspense and packed with drama. In their productions, the two friends conjure up soundscapes that are extremely dense and at the same time infinitely open and spacious. Within this framework, they play with stark contrasts of antithetic elements: repetition and improvisation, functionality and emotions, emptiness and overload, clarity and crackling.

It’s common knowledge that KOMPAKT’s TOTAL series serves as our yearbook, a musical wrap up of the past 12 months. Therefore it doesn’t come as a surprise that this year’s edition is informed by another pandemic year, where dancefloors were still mostly deserted and the devastating developments in Eastern Europe. Kompakt’s A&R team still kept on foot on the imaginary dancefloor, while scouting different realms apart from the big room euphoria. Anyway, brain dance has always been a key ingredient to our catalogue.

The Voigt brothers are opening this years vinyl edition in an unusually romantic fashion. ‘Why’ combines a bubbly FM bassline with lush washes of looped guitars. High off the (presumably high) heels of her recent album ‘Jesus Was An Alien’ she delivers a spanking new excursion into her sonic world, ‘The Hill’. Our Mexican friend Rebolledo makes his first ever solo appearance on TOTAL with his trademark hypnotic desert sound. Jürgen Paape is calling a spade a spade with ‘Le Monde À Changé’ – The world has changed indeed. Our prodigal son, Matias Aguayo, returns to the mothership with ‘Cinco Y Rojo’. An exercise in Chicago-esque groove theory paired with a cheeky visitor from Denmark. Spot the reference and win a pair of hooves. It’s hard to find a quality party around Cologne without Jonathan Kaspar on its bill. Rightly so, as he continues to hone his craft as an impeccable DJ and producer. Michael gives the tremendously talented Danish singer songwriter eee gee a proper Mayer treatment and Kompakt founding member Jörg Burger closes off the festivities with a groovy midtempo chugger that reminisces ‘Blue Lines’ era Massive Attack as much as the late Andy Weatheralls low slung psychedelia.

Es ist allgemein bekannt, dass die TOTAL Reihe eine jährliche Positionsbestimmung des Kölner Labels KOMPAKT darstellt und der Jahrbuch-hafte Charakter war ja auch immer beabsichtigt. So wundert es wenig, dass man TOTAL 22 die Irrungen und Wirrungen des zweiten pandemischen Jahres 2022 deutlich anhört. Die A&R Abteilung des Labels hatte zwar – trotz geschlossener Clubs – weiter mindestens einen Fuss auf dem imaginären Tanzboden, aber man spürt, dass es ein eher verhaltener Jahrgang geworden ist. Dance Tracks brauchen einen entsprechenden Resonanzraum – und der war zumindest bis zur Deadline dieser Platte kaum gegeben. Aber Kopfdisco gehörte schon immer zum kompakten Repertoire. Letztlich entsteht in diesem vom Big Room los gekoppelten Bereich meist die interessanteste Musik.

Die Gebrüder Voigt eröffnen TOTAL 22 auf einer unerwartet romantischen Note. Quirlige FM Bässe schmiegen sich an verhuschte Gitarrenloops, so dass es eine wahre Freude ist. Perel hat gerade ihr fulminantes Album “Jesus Was An Alien” abgeliefert und spurtet bereits mit Siebenmeilenstiefeln (oder vielleicht auch Pumps?) zum nächsten Ziel: ‘The Hills’. Unser mexikanischer Freund Rebolledo ist erstmals solo auf einer TOTAL zu finden und beschwört mit ‘The Sharper Image’ seinen hypnotischen Prärie Sound herauf. Jürgen Paape nennt das Kind direkt beim Namen: Le monde a changé… Die Welt hat sich verändert – ein Kommentar zum Zeitgeschehen, der keiner Erklärung bedarf. Nach längerer Abstinenz hat Matias Aguayo wieder am Mutterschiff angedockt. ‘Cinco Y Rojo’ ist ein Lehrstück in Sachen Chicago-esquen Grooves, kombiniert mit einem frechen Besucher aus dem Dänemark der 80er. Findet die Referenz und gewinnt ein paar nagelneuer Hufen. Es ist derzeit schwer eine qualitativ hochwertige Party im Rheinland zu finden, auf der Jonathan Kaspar nicht spielt. Zurecht, denn er schärft seine Skills als DJ und Produzent wie ein Sushi Chef sein Messer. Michael Mayer dreht die überaus talentierte Singer Songwriterin eee gee auf links und überlässt seinem Weggefährten Jörg Burger das letzte Wort. "Crawling Up That Hill’ ist ein slicker Midtempo Groover, der in seiner behutsamen Psychedelik irgendwo zwischen Massive Attack in der ‘Blue Lines’ Epoche und Andy Weatherall changiert.

Black Screen Records is excited to announce that Damián Sánchez' chill and joyful orchestral soundtrack to Crema's massively multiplayer creature-collection adventure Temtem will be available on limited edition 3xLP Picture Disc vinyl. You get 47 songs and the three starters Crystle, Smazee and Houchic in one beautiful trifold set with gorgeous artwork by Alex Muñoz and Cristina Jiménez. The vinyl and CD both come with a download card for the full digital soundtrack including all tracks. ABOUT THE SOUNDTRACK: Temtem's original game soundtrack is a melodic journey through the adventures on the Airborne Archipelago. A mixture of musical styles and flavors ranging from the chill and joyful orchestral sounds from Deniz to the most vivid and chrer-ish celtic dances from Arbury, through the folk and peacefulness of Omninesia, the mysterious glassy mallets of Tucma, the warm drums and flutes of Kisiwa, and the modern-versus-traditional Asian tunes in Cipanku. Discover the traditions of each isle through its instrumental palette and melodies, and vibe with the rhythms of the combat themes while you become the greatest Temtem tamer. The aim of this physical edition it's always been to give our fans not only another way of listening to Temtem's soundtrack, but to make a piece of art they would love to display on their shelves or even hang on a wall. Both teams at Crema and Black Screen Records worked really hard for a long time to cherry-pick the best ideas and come up with these incredibly beautiful editions. We are really proud of these products and we really hope you enjoy them! - Damián Sánchez ABOUT THE GAME: Temtem is a massively multiplayer online adventure where you'll get to explore the colorful and exciting Airborne Archipelago with all your friends and other players! Discover, tame and battle the Temtem that inhabit these islands, and maybe save the Archipelago in the process? Temtem offers a lengthy story campaign in a fully online world, and the possibility of playing the entire adventure in Co-op with a friend; a rich, complex, RNG-free combat experience, and competitively oriented gameplay, with challenges for all play styles; a bustling economy and trading environment; advanced character customization, housing and a myriad of ways to express yourself!

Gold Vinyl

10 brand new recordings from the legendary Jamaican singer and longtime Massive Attack collaborator, Horace Andy, produced by Adrian Sherwood.

Midnight Rocker has been approached in a similar fashion to the late-career quality that Sherwood coaxed out of Lee "Scratch" Perry with the Rainford and Heavy Rain albums, assembling a crack team of players and spending many months perfecting performance, arrangements and mixing. The result is a remarkable suite of tracks that sparkle with superb musicianship, carefully crafted production and Horace’s beautiful vocals.

The material includes revisiting and updating a few classic Horace Andy songs such as “Mr. Bassie”, but the bulk of the tracks are brand new compositions with contemporary messages, such as “Watch Over Them” and “Materialist”. The pair have also versioned “Safe From Harm”, a much-loved early single by the group that Andy is most associated with – Massive Attack.

“On-U Sound are very proud to present a truly wonderful album with one of the all-time great singer-songwriters in the rich history of Jamaican music, Horace Andy. This is a true gold star performance, and I’m very proud of it.” Adrian Sherwood.

Limited to 300 physical copies

Our label is back and it’s back with a bang! For the first time ever featuring 6 tracks on one release, we’re delighted to present Azemad’s “Afriki“ EP. Showcasing his broad scope of influences and massive talent for melodic arrangements, the Berlin-based Egyptian producer and vocalist offers a record that is as wide ranging in style as it is evocative and emotionally intelligent.

Festive tribal drums meet moody rap verses, fat bouncy bass lines and dubbed out chords on this wonderful musical melting pot on wax. Whether you’re in a Mahragan or Mawal spirit, Azemad caters for all needs and occasions, last but not least with the friendly help and assistance of J.Wiltshire’s beautiful, aquatic bubbler of a remix on the flip.

AWK004 intends to surface on September 16th 2022, so keep your eyes and ears peeled. Thanks and much luv for the support as always!

Over the course of the last two decades, of Montreal’s creative force, Kevin Barnes, has been wowing fans with their vast catalog of endlessly fascinating pop and mesmerizing live shows. Barnes’ songwriting and production aesthetic has since become iconic in the industry and has garnered massive critical acclaim in publications such as Rolling Stone, The New York Times, NPR, and Pitchfork, who described the band’s album, Hissing Fauna, Are You The Destroyer? as “ceaselessly fascinating and inexhaustibly replayable,” as well as ranking it as the #5 album of the year. Barnes’ influence on pop music is undeniable, with multiple late night TV appearances, including The Late Show With David Letterman and Late Night with Jimmy Fallon, as well as brilliant collaborations with the likes of Solange, Janelle Monáe, Jon Brion, and others. The band has also performed across the globe, with festival appearances at Coachella, Sasquatch!, Pitchfork Music Festival and others, as well as hundreds of millions of streams worldwide.

On of Montreal’s latest album, Freewave Lucifer f ck, Barnes continues to push the boundaries of what pop music can be. On songs like “Marijuana’s A Working Woman,” Barnes revisits themes of psychedelia using pulsating synths

GA-20 clearly is on to something big. It's a movement, a new traditional blues revival. The dynamic, throwback blues trio are disciples of the placewhere traditional blues, country and rock `n' roll intersect. "We make records that we would want to listen to," says guitarist Matt Stubbs. "It's our take on the song-based traditional electric blues we love." Stubbs, guitarist/vocalist Pat Faherty, and drummer Tim Carman have been at the forefront of this traditional blues revival since they first formed in 2018. It's no wonder they skyrocketed to the top of the Billboard Blues Chart. According to Stubbs, "Since we started the band we've focused on the story, the melody, and on creating a mood. Playing live as much as we do,we're finding more and more that people are discovering how cool it all is.Traditional country, soul and funk music have all had these massive recent revivals, but traditional blues so far has not." With their new Colemine album, Crackdown, and an intensive tour schedule, that's all about to change. On Crackdown, GA-20's third full-length release, the band creates an unvarnished, ramshackle blues that is at once traditional and refreshingly modern. Expanding on their previous releases (2019's Lonely Soul and 2021's Try It_You Might Like It! GA-20 Does Hound Dog Taylor) GA-20 finds inspiration on the edges of the genre, where early electric blues first converged with country and rock `n' roll. The album's nine original songs include the loping, Louisiana-flavored Dry Run, the dirty, and bare-bones Easy On The Eyes and the melodic, garage-tinged Fairweather Friend. With tight, propulsive performances and a brevity and punk energy reminiscent of The Ramones, Crackdown is rowdy and fun, filled with instantly memorable, and well-crafted songs.

GA-20 clearly is on to something big. It's a movement, a new traditional blues revival. The dynamic, throwback blues trio are disciples of the placewhere traditional blues, country and rock `n' roll intersect. "We make records that we would want to listen to," says guitarist Matt Stubbs. "It's our take on the song-based traditional electric blues we love." Stubbs, guitarist/vocalist Pat Faherty, and drummer Tim Carman have been at the forefront of this traditional blues revival since they first formed in 2018. It's no wonder they skyrocketed to the top of the Billboard Blues Chart. According to Stubbs, "Since we started the band we've focused on the story, the melody, and on creating a mood. Playing live as much as we do,we're finding more and more that people are discovering how cool it all is.Traditional country, soul and funk music have all had these massive recent revivals, but traditional blues so far has not." With their new Colemine album, Crackdown, and an intensive tour schedule, that's all about to change. On Crackdown, GA-20's third full-length release, the band creates an unvarnished, ramshackle blues that is at once traditional and refreshingly modern. Expanding on their previous releases (2019's Lonely Soul and 2021's Try It_You Might Like It! GA-20 Does Hound Dog Taylor) GA-20 finds inspiration on the edges of the genre, where early electric blues first converged with country and rock `n' roll. The album's nine original songs include the loping, Louisiana-flavored Dry Run, the dirty, and bare-bones Easy On The Eyes and the melodic, garage-tinged Fairweather Friend. With tight, propulsive performances and a brevity and punk energy reminiscent of The Ramones, Crackdown is rowdy and fun, filled with instantly memorable, and well-crafted songs.

What is there to say about this album that hasn’t been said before? Multiple words could be used to describe this album: Timeless. Essential. Masterpiece. Definitive. Sickening. Yes, even sickening falls into this category, because believe it or not, back in 1996 when Cryptopsy released “None So Vile,” it was unlike anything else at the time. From the first drum hits and guitar riffs of “Crown Of Horns,” it would have been obvious, and still is to this day, that Cryptopsy improved on themselves since “Blasphemy Made Flesh.” But then you combine some of the most technical and speedy Death Metal to date with the sickening screams, snarls, growls, and grunts of vocalist Lord Worm, and I’m sure that 1996 was the year Death Metal changed forever. “None So Vile” is a testament to the Death Metal formula, and the odd thing is is that not many have tried to emulate it. I don’t know why. Maybe it might be because of how difficult it would be to emulate an album of this calibur. Cryptopsy is a massive influence upon Death Metal. Many factors contribute to the influence Cryptopsy struck upon Death Metal. One of them is absurdly seen from Flo Mounier’s maniacal drumming. As far as I’m concerned, two words can sum up this man: Speed Demon. But just because he’s speedy doesn’t mean he loses any shed of technicality. But Flo is not alone in making Cryptopsy. With the duo of Jon Levasseur and Eric Langlois on guitar and bass respectively, Cryptopsy was noted for their technical music playing. Just look at songs like “Slit Your Guts,” “Graves Of The Fathers,” and “Phobophile” to see how this duo completely tore apart everything that may have been considered a standard for Death Metal at that time. These two remade the standard by bringing shredding guitar and audible, crushing, and technical bass playing into the mix. The playing by these two is a testament to technical playing. But what truly makes Cryptopsy, and many would agree, is Lord Worm. This man is down right beastly. No true word in the English vernacular could describe what this man brings to Cryptopsy and what he did for Death Metal on “None So Vile.” At this point in time, I don’t think anyone could have anticipated vocals like this. He is downright in-fucking-human. His screams are vicious, his gutteral growls are putrid, and the longevity at which he can perform and hold these vocals is insane. But not only did Lord Worm bring a sickening unnatural vocal style, he brings

Very limited vinyl pressing, 500 copies in a full colour single outer sleeve and full colour printed lyric inner sleeve, housing a 2-colour blue and yellow cosmic swirl vinyl. Full download included as well. Blacklab are back. The self-proclaimed ‘Doom witch duo from Osaka’ are set to drop their 3rd album ‘In A Bizarre Dream’ this summer. Their debut ‘Under the Strawberry Moon 2.0’ saw them taking Sabbath inspired doom, mashing it with a Japanese sensibility and a fuzzed-up groove. It certainly caused a stir, but only hinted at their potential. Album two ‘Abyss’ added to the mix. A Stooges like squalor to the riffs, dollops of lo-fi hardcore punk and loose riffing, pointing the way towards a signature sound. So what of the ‘difficult’ third album? Not so difficult at all it seems. ‘In A Bizarre Dream’ ups the ante considerably, to let rip and define what Blacklab are about. The combined talents of Jun Morino on production and Wayne Adams (Big Lad, Green Lung, Pet Brick, John, Cold In Berlin) on the mix have conspired to produce a towering beast of a record. A real step forward for the ‘Doom Witch Duo’. The drums have a humungous ‘Fugazi’ like welly, and the guitars are a boiling maelstrom of fuzz dense riffola and warped psychedelics, with added synth. Yuko’s throat shredding snarls are as mean as a pissed off Satan, and melodious, often within the same song. This is doom meets hardcore punk, hooky melodies, and killer riffs, all cranked up to the max. Japan has always had a special take on ‘noise’ and ‘heavy’ and with ‘In A Bizarre Dream’ Blacklab add their own spin to that tradition. Gone is the lo-fi approach, here is Blacklab in full effect. ‘Cold Rain’ and ‘Abyss Woods’ (debuted at their storming set at London’s Desert Fest and appearing here in its full version) are two nuggets of epic fuzz heavy doom with added screamo and a neat and canny grasp of melody at its core. Very much a Blacklab trademark. ‘Dark Clouds’ is D-beat fuelled hardcore, fierce and ferocious, with Chia’s rolling thunder drumming underpinning the distorted guitar. It’s pretty exhilarating stuff that shifts the mood perfectly. ‘Evil I’ is just that, a riff as evil as it gets, morphing into a chugging punk wig out. Then followed by ‘Evil II’ a breather, almost mellow, melancholy, with layers of dark overdrive threatening to explode beneath a sweet yet menacing vocal. Then, the mid-point of the album drops a real surprise. Yuko has said before that the band’s name is a combination of her two favourite bands, Black Sabbath and Stereolab. Odd bedfellows to be sure, but if you want to know what that combination might sound like ... here it is. ‘Crows, Sparrows and Cats’ actually features Laetitia Sadier of Stereolab, no less, providing the lead vocal, adding a layer of cool over Blacklab’s Hawkwind meets krautrock sludge. It’s a stoner groove with pop at its heart ...Sludge Pop even, a surprising gem amongst the maelstrom of sound around it. The skewed, sludgecore of ‘Lost’ with its push-pull riffs and rolling thunder drumming, signals that it’s back to business as usual. And after the brief atmospheric instrumental interlude that gives the album its title, comes ‘Monochrome Rainbow’ a huge beast of a track so simple, yet so seductive, from its filtered bass intro to its massive ebb and flow groove and stomping ending. The vocals are all mystery and melody, and the music is kind of a Groundhogs meets Goatsnake ten-ton fuzz-fest, with a singalong, wave your arms in the air chorus. The new Japanese Doom-blues, and what could be the album’s defining moment. ‘In A Bizarre Dream’ closes with ‘Collapse’ verging on noise rock, complete with throat shredding vocals and a crushing wall of guitars, that switch from a stoner groove to full on punk assault, teetering on mayhem before finally ending with the sound of Yuko switching off her fuzz pedal. Perfect. Blacklab have negotiated that ‘difficult’ third album with aplomb and have created a sound that, despite their many influences, is all their own.

repressed !

It's no understatement that London Grammar's forthcoming album is one of the most highly anticipated debuts this year. Confirmed for release on September 9, the album is a result of 18 painstaking months spent writing and recording. Each of the 11 tracks is testament to the trio's innate understanding of the roles that subtlety, contrast and restraint have played in the creation of memorable, timeless and transcendent music. 'That's how this all started,' says Dan, 'and it's always been our primary goal, to keep space in the music. The way that, say, the guitar and vocal interact is massively important to us.'

Heavily involved in every decision made on the album, the band handpicked their team, working closely with producers Tim Bran (The Verve, Richard Ashcroft, La Roux) and Roy Kerr AKA The Freelance Hellraiser. Drafting in Roc Nation's KD (Outkast, Beyoncé, Jay-Z) to mix the album, with Grammy-winning Tom Coyne (Adele's 21), joining them to master.
Tracks like If You Wait and Flickers possess that strange duality of lament and defiance, filled with textures, colours, shadings and interjections that are subtle yet deliver devastating power. The next single, Strong, out on September 1 is the final, killer blow. Building - as you would expect from London Grammar - from nothing, from the barest of bones, Hannah's soaring vocals propels the song to its crashing climax.
More than delivering on their promise, London Grammar's electrifying debut solidifies them as being one of the most exciting and innovative bands to emerge in 2013.

Eric Dolphy's final studio album is hailed as one of the finest examples of mid-'60s post bop. Its reputation is purely one of backwards significance. Dolphy, having recorded the album in February 1964, was in Europe less than six weeks later and his all-too-brief life ended less than two months after that. Though likely he never held a copy in his hands or heard any critical opinion of it, it marked his last flurry of original compositions and is considered his apex. It is fascinating to consider whether he would had moved past or away from the album in 1965, had he lived.

Though Dolphy should not be considered an avant-garde musician by the term's most common definitions, most interpretations of Out To Lunch have been done by players working squarely in that area. So it is with this album, the most ambitious in its recreation of the five-tune disc (with one original added to the final "Straight Up and Down, extending the piece to almost thirty minutes). All five compositions from the original quintet LP are revisited in the same order, the record sleeve even duplicates the old album jacket, down to the typeface and black-and-blue color scheme, although a photo taken by Daidō Moriyama inside Tokyo's massive (and massively busy) Shinjuku railway station replaces the Dolphy's album's enigmatic "Will Be Back" sign, whose clock hands indicated no conventional time of expected return.

Otomo Yoshihide first came to international prominence in the 1990s as the leader of the experimental rock group Ground Zero, and has since worked in a variety of contexts, ranging from free improvisation to noise, jazz, avant-garde and contemporary classical. The always surprising and sometimes confounding turntablist, sound artist, onkyo improviser and now avant jazzer heading up a 15-piece aggregation of Japanese and European experimentalists. Who better to grapple with Dolphy's legacy -- so idiosyncratic in its day and yet so influential to creative improvisers who followed -- than a musician with his own singular take on how sounds can be organized in the jazz realm over 40 years later and half a world away? In other words don't expect the conventional from Otomo any more than you would from Dolphy himself. That's not to say that recognizable themes ("Hat and Beard," "Out to Lunch," "Straight Up and Down") don't appear, or that individual players -- including Alfred Harth on bass clarinet bursting into the mix and leaping across the instrument's tonal range in a way that recalls the master himself -- don't carry forward echoes from the past in the spirit of a sincere and heartfelt homage.

However, a good deal of the time all bets are off; in addition to the usual brass, reeds, bass, and drums (and of course a bit of vibraphone, here played by Takara Kumiko in far less prominent role than that of Bobby Hutcherson) are such sonic paraphernalia as sine waves, contact mike, no-input mixing board, and, of course, "computer." (Otomo himself plays skronky electric guitar.) From composition to composition and even during episodes within compositions, the band takes radically different approaches. There are blasts of free jazz energy not too far removed from the Peter Brötzmann Tentet, an impression reinforced by the presence of spluttering wildman Mats Gustafsson on baritone sax. Not surprisingly and often in contrast with the Dolphy original, the music is dense and filled to overflowing with sounds -- sometimes due to fundamental reworkings in structure rather than just the larger size of the ensemble. The middle section of "Something Sweet, Something Tender" somewhat belies the original's title with elongated howls and cries from the horns over slo-mo bass, drums, and electronic noise poised somewhere between dirge and drone, and the sudden explosion of punk-ish rock energy in the following "Gazzelloni" is a startling contrast.

At times, the feeling is that of listening to the original Out To Lunch while a séance is going on to contact Dolphy's ghost, with supernatural sounds swirling around the stereo. The effect is disconcerting, as is the post-apocalyptic cloud hanging over the arrangements, but it makes the effort more than an unnecessary tribute album. Instead, Dolphy is transported into the 21st Century and allowed to romp through modern developments in music. An inspiring concept and an album that will stretch the boundaries of anyone who comes into contact with it.

Dynamite Cuts takes a different move from the funk & soul and is proud to be able to press for the first time on 7” vinyl, two killer rock club tracks. Our A side is the powerful up-tempo “Elegy” a funky love song, with steaming guitars and heavy groove, massive club track back in the day! On the flip is the “The Kettle” heavy rock groove sampled by Fat boy slim for “Ya Mama”
Perfect for all good music collectors

Black Truffle is thrilled to announce Drumming Up Trouble, the first release of previously unissued music by Alvin Curran on the label. Collecting works recorded between 2018-2021 and a side-long epic dating back to the early 80s, as the title suggests, Drumming Up Trouble focuses on a hitherto almost unknown aspect of Curran’s encyclopaedic and omnivorous musical world: his experiments with sampled and synthesised percussion. As Curran’s wonderful, wildly sweeping liner notes make clear, his fascination with drumming belongs to the radical investigation of music’s fundamental elements that has marked his output since the beginnings of MEV, who aimed (as he says in a recent interview) to return ‘in some collective way to a non-existent start time in the history of human music’. Whatever kind of music our proto-human ancestors played, he writes, ‘drums were front and centre in the mix. Drums rule!’

In a paradox typical of Curran’s approach, Drumming Up Trouble interrogates this most ancient dimension of music with contemporary technology. On the first side, we hear recent pieces performed using the sampling software and full-size MIDI keyboard setup Curran has refined since the 1980s. Two of them are wild real-time improvisations, primarily utilising an enormous bank of hip-hop samples. Building from polyrhythmic layers of drum machine fragments to wild cacophonies of clashing vocal samples, scratching, and frantic pitch shifting, these energetic and at times hilarious pieces occupy a space somewhere between John Oswald’s Plunderphonics, Pat Thomas and Matt Wand in the Tony Oxley Quartet, and the propulsive Kudoro/Grime fusion of Lisbon’s Príncipe label. They are improvisations are accompanied by two austere, minimal compositions realised in collaboration with Angelo Maria Fallo: ‘End Zone’ for orchestral bass drum and high oscillator, and ‘Rollings’, where a snare roll is gradually stretched and filtered by digital means into ‘floating electronic gossamer’.

The incredible breadth of Curran’s output makes it pretty unlikely that a listener familiar with his work would be surprised to find it branching out in a new direction. But no degree of familiarity with his work can really prepare for side B’s epic and bizarre ‘Field it More’. It’s perhaps best to let the maestro describe this unhinged and infectious offering in his own words: ‘It features an 8 bar funky minimal riff à la James Brown, played on synth and an-out-of-tune piano, synced to a pre-paid patch on the Roland drum machine. Over this is laid a heavily processed track of the voices of dancer Yoshiko Chuma and movie-maker Jacob Burckhardt discussing an upcoming performance of theirs at the Venice film festival, capped by a track of my playing an increasingly out of control blues over the top of all of the above’. Only Pekka Airaksinen’s Buddhas of the Golden Light comes to mind as a reference point that might even vaguely compare to this wild home-brew of drum-machine funk, mad improvisation and squelching electronics, which eventually dissolved into a massive, layered cluster. Ancient and modern, synthetic and human, hysterical and rigorous, Drumming up Trouble is 100% Curran.

2022 repress

Second album by Univers Zero originally released in 1979. A classic of chamber rock music featuring heavy use of dissonance and dark, brooding and extremely complex melodies.

"This music on this LP might have little to do with rock and might also be a massive downer, but the quality of the writing and playing is extremely high. Michel Berckmans' solo work on oboe and bassoon is magnificent, and
Patrick Hanappier's string playing (violin and viola) also demonstrates the precision of a trained classical musician, along with demonic avant-garde scraping and howling on "Jack The Ripper".

Best of all, Univers Zero never cheapens the effect of the music with any of the stock cartoon licks which are associated with the gothic genre today. Group members sound deadly serious about what they're doing, which might call their sanity into question, but which makes for an incredibly powerful listening experience. In fact,
Heresie is a stunning one-of-a-kind item that has never been duplicated by anyone -- including Univers Zero. "
- All Music

Over the past decade, the mysterious, London-based artist Moiré has perfected a syrupy, addictive brand of dance music via labels like Actress's Werk Discs and illustrious imprints like Ghostly and Rush Hour. For most of this period, Moiré seemed pramarily concerned in creating alternative universe club tracks. The beats were hypnotic, if wonky. The pads were deep before they were refracted through an oblique filter. In a discography bearing a surfeit of leftfield high points, Circuits, Moiré's latest album for the Berlin-based Avenue 66 (Lowtec, John Frusciante, Joey Anderson) is a massive creative leap that fully breaks with the strictures of a "conventional" dance music.

While there are still nods to the low-slung, slow house style Moiré's perfected in the past ("Circuit 1"), as well as the looming shadow of hardcore ("Circuit 8), Moiré's style now billows into a liminal, cinematic zone that recalls the canonical SAW albums, BOC or even Seefeel's enduring, genre-free experiments. Rhythms come and go at all tempos, from Hauntological four-on-the-floor to flickering downtempo and ambient house approximations. But the emphasis lies with the melodies. From the queasy orchestral style of "Circuits 1" to the glacial, "end credits"-style synths that close out the album, these motifs bear an uncanny familiarity, as though they always existed. You recognize them, not from a previous listen, but rather, some half-remembered dream, or, perhaps, a previous lifetime.

"Ésta sí es salsa!" is one of the most sought-after records in the impressive catalog of the Discos Fuentes tropical all-star group Los Corraleros de Majagual. The record is high on collectors' want lists for many reasons: excellent sound quality, diverse and highly danceable repertoire infusing its grooves, and the inclusion of the Cuban genres of descarga and charanga. The album includes outstanding cover versions of '60s New York salsa but featuring the unusual sound of the accordion and the heavy bass playing of Julio Estrada. First time reissue. "Ésta sí es salsa!" is one of the most sought-after records in the impressive catalog of the Discos Fuentes tropical all-star group Los Corraleros de Majagual. It was released in 1970, nine years after the band was first conceived by Alfredo Gutiérrez, Calixto Ochoa and label boss Don Antonio Fuentes as an orchestra to play mostly typical folkloric Colombian genres like porro, cumbia and paseo and the occasional guaracha or pachanga, but with a fully orchestrated big band sound that combined the accordion with a complete rhythm and brass section. The record is high on collectors' want lists for many reasons, not least of which is its excellent sound quality and the diverse repertoire infusing its grooves, ranging from expected coastal tropical Colombian rhythms like paseaíto, paseo and pasebol (all related to cumbia and vallenato), to more exotic modes like sonsonete, casatschok, and the Cuban genres of descarga and charanga. There was never any doubt with the label's intentions of introducing this "new" genre of salsa on this LP, albeit as seen through the lens of Colombian musicians only recently converted to the movement, and indeed, the title unequivocally proclaims: "¡Ésta sí es salsa!" ("This is definitely salsa!"). The proof is in the fascinating (and long) cover versions of Nuyorican artists from the burgeoning Big Apple salsa scene that are the centerpiece of the album. Two massive dance tracks on the record are 'Ocho días' and 'Amanací tomando', but neither was inspired by exposure to New York salsa, as they are very "typical" Colombian numbers. First time reissue.

Picture London, thirty years ago, as Neneh Cherry gears up to release her debut album Raw Like Sushi - a thrumming, restless, vibrant city that in 1989, much like today, pulsed defiantly against a backdrop of increasing political doom, rocking to the joyful noise of culture leaping across boundaries, radically reordering itself. Rents are low.

Soho hums to the chatter of poets, vagabonds and petty sex tourists drinking in the same elixir of possibility. The divisions between the queens of Old Compton and mods and punks of Carnaby Streets look huge but feel slight. A spirit of multiracial unity permeates the air.

New York hip hop and Chicago house continue their euphoric colonisation of nightclub culture. Amid this maelstrom, Neneh Cherry emerges, capturing the entire, giddy rumble of this rolling community street culture in one record, Raw Like Sushi. With no interest in genre, Raw Like Sushi upsets and inverts everything you thought you knew about how pop can work, at it's brightest and most effective.

One of the greatest debut albums of all time, born halfway between Never Mind The Bollocks and Boy In Da Corner, Raw Like Sushi was ready to escort you right to the centre of it's dancefloor, dripping hot sweat under a mirrorball at 3am - and its particular magic remains just as potent today.

To celebrate the 30th anniversary of an album that culturally, musically and stylistically defined a generation and everything that followed, Raw Like Sushi has been remastered at Abbey Road and will be released in super deluxe format across 3CD and 3LP heavyweight vinyl box sets, and 1CD and 1LP formats.

The box sets include a stunning 48-page 12x12 book packed full of iconic photos, new interviews, liner notes and memorabilia. The album features five of Neneh’s biggest singles - including the worldwide smash hit single ‘Buffalo Stance’ as well as hit singles ‘Manchild’ produced by Massive Attack’s Robert Del Naja, ‘Kisses On The Wind’, ‘Heart’ and ‘Inna City Mamma’. It also features rare mixes of key tracks by Massive Attack, Arthur Baker, Smith N Mighty, and more.

Since the release of Raw Like Sushi 30 years ago, Neneh Cherry has continued to define and redefine culture, style and music releasing five studio albums, including 2018’s Broken Politics, produced by Four Tet, which was met with critical acclaim by the likes of The Guardian, Rolling Stone, The Times, Q and Pitchfork.

Neneh went on to tour the album throughout 2019 including her largest ever headline show at London’s Roundhouse, and festival performances at Glastonbury, Latitude, Primavera, Pitchfork and more proving her music and message more relevant than ever.

Brewing another supremely heavy release on the horizon, Moonshine Recordings is stealing the spotlight once again. Proudly presenting Violinbwoy's first solo album, unadulterated sound system pressure at its finest. Slavic chants and drum rhythms meet the unrivalled power of Violinbwoy's eccentric take on modern bass music 'Fyetisov' kicks off the stellar 3x12' release with a high-powered Stepper emission. Setting the tone with a rumbling bassline and supremely energetic lead instrumentation, full force sound system music down to its core. Shining in a different light, 'Moonspell' reveals its melancholic nature - gradually intensifying through otherworldly percussion and anthemic vocal sample placements. Stripped down to its bare bones, 'Dubplate' unleashes its detuned, percussive shackles for a massive onslaught of four-to-the-floor, while keeping true to Jamaica's music roots. Warbling tape echo spheres and excellence in emotive expression Violinbwoy's collaboration with singer Marina P turns out to be an anthem by itself enthralling, whoever gets caught into the midst of this hymn of a track. Not backing down one step from the established level of quality, 'Sound System' featuring Junior Dread excels once more in a crystal-clear demonstration of modern roots music - mandatory repeat listening. Rejoicing in simplicity, 'Rig Alert' holds true to what the name suggests - cinematic bass meditation, fluidly scaling with the size of its speaker counterpart. Moving on to Dan's vocal skills in 'Wanted': Rastafarian wisdom chanting along a skanking rhythm and orchestral atmosphere. Ethereal bells being submerged in moving air and scattered white noise, 'Run & Hide' demonstrates a more experimental side within the LP - exhibiting Downtempo/Ambient inclinations in a magnificent combination with Dub characteristics, only increasing in energy to the call of the dub siren. Ready for more, the title track 'død' captures us within the expressive, introductory playing of the violin, deserting it for echoes and sub oscillations alike. Calling upon the prowess of Rider Shafique, his harmonic toasting is being escorted by a forward-minded halftime groove in 'Find The Way'. Topping the LP off with Sis' excellence in telling a story through song on a hypnotic instrumental. The nature of last tunes is often powerful, serving to concede with an explosion, appropriate of the session - as is the case with 'Surfacing' closing off the monumental EP with visceral lead movements, setting the tone alongside driving drums and one more murderous bassline, sure of receiving countless rewinds in the near future. Encompassing a plethora of current Roots- Dub- and Steppa- influenced styles, Moonshine's next LP installment is sure to be received for what it is: a definitive, quality expedition of what's firing up dance floors around the globe.