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Two individuals from faraway journeyed the world together, and were given many tiny gifts from the surroundings. Then the music came out as a matter of course, as if a thing was being put in its right place.

After the great response to the launch with Deer Jade and David Hasert/Niconé, our lively split EP format is going into the next round. Always true to the motto: Only killers, no fillers!

Brazilian born come Berlin resident Joyce Muniz teams up with Algerian born come Rome resident DJ producer Sara Bluma for their phenomenal Kompakt debut “Beats & Lines”, an uplifting electro disco affair with plenty of pop appeal. “I met Sara Bluma a year ago, when she booked me to play at one of her parties in Rome. We connected straight away. It was a matter of time that we decided to make some music together. I had this idea for a while, so I sent it to Sara and asked her if she would like to do some vocals. She came up with this great fun text. This tune interprets the energy from both of us. Which is supposed to be fun!“. Mission accomplished… The good vibes between Sara and Joyce are definitely contagious!

London’s Hardt Antoine is back to the mothership with a bang! “I Will” is a sensual, percussion-driven house anthem for those morning hours, when spirits are high and the sense of unity is palpable. “La Mosca” is taking a more hypnotic approach, putting a joyous chant of unknown origin to good use. Something tells us that 2024 will become a banner year for Antoine!

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

Incorporating metal's classic elements with the paramount components of modern extreme death metal, EXHUMED has delivered the ultimate death sentence with Anatomy Is Destiny. More involved and intricate than past efforts - with slower and heavier sections blended into the band's patented gore metal - EXHUMED proves to be the masters of their trade. Death-defying production by Neil Kernon (Judas Priest, Cannibal Corpse, Nevermore).

Elevating, uplifting and beautifully arranged. Jasmine Myra's sophomore album Rising builds on the success of her

breakthrough album Horizons to deliver a major statement from one of UK Jazz's rising stars. Produced by Matthew Halsall and mixed by Greg Freeman (Hania Rani, Matthew Halsall, Portico Quartet), Rising delivers a confident and vibrant follow up that joins the musical dots between Myra’s influences Kenny Wheeler, Bonobo and Shabaka Hutchings while delivering something unique, beautiful and profound.

Rising is also the sound of a composer and performer growing in stature and adding extra layers of confidence and poise to both her playing and composing. Aided and abetted by Matthew Halsall who once again lends his production skills, Rising is fuller, richer and deeper as Myra develops her uniquely uplifting sound.



Much like my first album, Rising is a reflection of a period of my life. It is a continuation from Horizons, which was all about my experience during lockdown, and entailed overcoming my struggles with mental health. Following on from that experience, I set out to continue building my self-confidence. This album has an uplifting and spiritual sound, drawing influence from artists such as Makaya McCraven, Bonobo and Shabaka Hutchings.



Rising features the same core of musicians as Myra’s debut album Horizons (Gondwana records GOND052): guitarist Ben Haskins, drummer George Hall pianist Jasper Green, harpist Alice Roberts (who both also perform with Matthew Halsall) and bassist Sam Quintana who collectively bring a deft understating of the subtle textures of Myra’s music and perform with a collective empathy and drive that really pushes the music on a radiant journey. And a string quartet add gently elevating textures to Still Waters, Knowingness, From Embers and How Tall The Mountains.

'AODVA' Series - a Various Artists formula which for the first release will forcus on some artists who are relatively new to releasing music:

AODVA1 - VA - Normal Gets You Nowhere EP

Log_In - Antivirus
Landed - Anaesthetic
Matthew Hartshorn - Computers
Jamie Dodger - Yes Yes Release The Stres

It took Krissy a year to produce his new 24-song album - a nearly 3-hour mix of original material and favorite cover songs - and it brings together a who's who of the modern blues and rock scene. "I wanted to bring all my favorite musicians together (and) didn't want this album to be pigeonholed, so there are different genres from metal to blues to jazz to rock 'n' roll. But at the end of the day, it's a Krissy Matthews record."

Warehouse Find! Test Pressing!

Simbad makes a welcome return to Freerange following last year’s brilliant Take My Hand EP featuring South African vocalist Brian Temba. Now based predominantly in Cape Town, the French Londoner producer and DJ is one of the most prolific artists in the scene having notched up countless EP’s, remixes and production work for labels like Apron, G.A.M.M. Faces, Hyperdub, Atjazz, BBE & Brownswood. His association with Gilles Peterson and Worldwide runs deep, hosting regular shows on WWFM as well as traversing the globe delivering his unique and eclectic sets from Africa
to Asia and beyond.

Peaceful Revolution is one of those special house tracks which transcends boundaries, encapsulating an outernational sound in a way that Simbad excels in. Featuring South African upcoming producer Zito Mowa & vocalist Lwandile Zulu who brings a raw and impassioned energy to the deep and soulful mood, this tune was recorded in support of the troubled events from the past few months (Black Lives Matter movement).

Next up we have a track entitled Let Go which could quite easily be the lead track of the EP if they weren’t all as good as each other! This is late night emotive house music at its most sublime. Drop this at the right time and watch the floor come together in collective bliss.

Flip over for SMBD’s Shaolin Dub remix of Peaceful Revolution which pushes the original to the outer limits of the audio spectrum. Sub-sonic low end rumbles sitting in contrast to the ghost like whispers, glitches and industrial noises that pierce the ethereal pads.

Closing out this special release we find the unassumingly titled Soulful Jam, a low-slung groove which sees Simbad going heavy on fizzing analogue synths with a serene synth solo takin centre stage amongst the lush chords.

Kee Avil's music is both adventurous and intimate, intellectually challenging and emotionally resonant. The Montréal guitarist and producer's 2022 debut LP Crease garnered plaudits from outlets like The Wire, The Quietus, Mojo and Foxy Digitalis, picking up a Canadian Juno Award nomination and Bandcamp Album Of The Day and Albums Of The Year along the way. Its intricate construction, unnerving atmospheres, and knife-edge take on avant-pop prompted comparisons to early PJ Harvey, This Heat, and Gazelle Twin. A remix EP with work by claire rousay, Ami Dang, Cecile Believe, and Pelada brought collaborative perspectives to four Crease tracks, offering new pathways within those songs. With Spine, Kee Avil strips back her heavily textured compositions, opening up a much rawer sound. She calls it folk—and while traditionalists might scoff, this is urgent music that reflects the precarity of modern life, as well as the jarring mixture of electronic and real-world interactions that have become the fabric of our day-to-day experiences. There's a hypnotic post-punk somnambulance to it all, using the repetition and fracturing of melodic phrases interwoven with delicate electronics to create curious and persistent hooks. While not a concept album, themes of time's passage, remembrance, and decay crop up across multiple tracks. Each track intentionally only has four elements—guitar, electronics, and two other instruments, with Kee's voice and guitar pushed to the front. Within this minimalist framework, the juxtaposition of beauty and discomfort that is key to the Kee Avil sound stands out in skin-prickling relief. "We're shaped by many versions of ourselves," says Avil. "I was looking back at these versions of myself and what could have been, what didn't end up being and what did end up being, and going back like that through time. Seeing the future, the past." Spine was written in Kee Avil's home studio after a lapse in writing while touring Crease and working on other projects. She is a well-known and respected member of the Montréal experimental scene, and formerly ran Concrete Sound Studio with Zach Scholes, who continues to work with her as a producer on Spine. Compared to the three years that went into making her debut, Spine emerged in a matter of months—a process that may also be a factor in its intensity and sharpness: "This record was much harder, like it was really discovering everything from scratch." In her desire to not simply replicate or extend the sound of Crease, she felt she had to rip up the rule book, write in a different way, and pare back songs against her usual instincts. Sometimes, when we work against our ingrained habits, we get to the core of who we really are. Spine is an exercise in that process. Without over-intellectualizing or being didactic, it hits immediately and emotionally, especially if you are a person who has spent much time in the process of self-examination. Kee's voice hisses, whispers, and chants; her guitar bends and rings; electronics skitter and crackle; violin creaks like a door in the wind. There is something so evocative about the atmospheres she creates that it's easy to overlay one's own feelings onto her work, but to do that wholly would be to overlook one of the most important things about Spine: Kee Avil's clear and thoughtful vision. This isn't just the next step forward in her artistic trajectory; it's a stunner of a record that stands on its own, a bracing and thrilling listen that has much to reveal about the contradictions inherent in being human. — jj skolnik.

Elevating, uplifting and beautifully arranged. Jasmine Myra's sophomore album Rising builds on the success of her

breakthrough album Horizons to deliver a major statement from one of UK Jazz's rising stars. Produced by Matthew Halsall and mixed by Greg Freeman (Hania Rani, Matthew Halsall, Portico Quartet), Rising delivers a confident and vibrant follow up that joins the musical dots between Myra’s influences Kenny Wheeler, Bonobo and Shabaka Hutchings while delivering something unique, beautiful and profound.

Rising is also the sound of a composer and performer growing in stature and adding extra layers of confidence and poise to both her playing and composing. Aided and abetted by Matthew Halsall who once again lends his production skills, Rising is fuller, richer and deeper as Myra develops her uniquely uplifting sound.



Much like my first album, Rising is a reflection of a period of my life. It is a continuation from Horizons, which was all about my experience during lockdown, and entailed overcoming my struggles with mental health. Following on from that experience, I set out to continue building my self-confidence. This album has an uplifting and spiritual sound, drawing influence from artists such as Makaya McCraven, Bonobo and Shabaka Hutchings.



Rising features the same core of musicians as Myra’s debut album Horizons (Gondwana records GOND052): guitarist Ben Haskins, drummer George Hall pianist Jasper Green, harpist Alice Roberts (who both also perform with Matthew Halsall) and bassist Sam Quintana who collectively bring a deft understating of the subtle textures of Myra’s music and perform with a collective empathy and drive that really pushes the music on a radiant journey. And a string quartet add gently elevating textures to Still Waters, Knowingness, From Embers and How Tall The Mountains.

Pull the Rope, the new record by Ibibio Sound Machine, casts the Eno Williams and Max Grunhard-led outfit in a new light. The hope, joy, and sexiness of their music remain, but, further honing the edge of their acclaimed 2022 album Electricity, the connection they aim to foster has shifted venues from the sunny buoyancy of a sunlit festival to a sweat-soaked, all-night dance club. Williams and Grunhard attribute this shift to a matter of collaborators, recording Pull the Rope with Sheffield-based producer Ross Orton (Arctic Monkeys, M.I.A.) over the course of two weeks. The way the pair wrote songs changed significantly_rather than Eno penning lyrics to music generated by Max and company's jamming, Orton started with Eno and Max writing together before adding the band. With less time in the studio and a new way of considering how they built songs, the duo found making decisions about Pull the Rope's sound quicker and more instinctual than before. "Ross is from Sheffield, which has an edgier, more industrial vibe than London," Grunhard explains. "He hears things differently than us, is more grounded in rave and grungier sounds, and knew when to add drums or push the instrumentation more. It was very different for us, but it lends itself to where Ibibio Sound Machine is going." In melding their songwriting process, Grunhard and Williams have, impossibly, pulled the trick of making Ibibio Sound Machine a tighter band than ever before, building out from their core in a way that highlights the electrifying group of musicians they play with. Rather than recording with the full band in the room, Pull the Rope was sculpted, elements added and shaped by Grunhard, Williams, and Orton along the way. As a result, Pull the Rope is a nimble, sleek machine that's thrilling from the first note of the opening title track, Eno's otherworldly voice and PK Ambrose's throbbing bass driving through a kaleidoscopic array of house, post-punk, funk, Afrobeat and disco, bangers and ballads, making an argument for unity that begins on the dancefloor. "We are the places we grew up, the places we've been, and the people we've met along the way," Williams says. "Hopping around the globe, we've found that people are fundamentally the same_they're people. Opposing sides push and pull, but there is an alternative to war, violence, and suffering." Lead single "Got to Be Who U Are" literally globetrots, name checking locales across the world that would feel disparate were it not for how well-traveled they are. Eno growing up in the musical melting pot of the Ibibio region of Nigeria and Max being a conservatory-trained musician from Australia, one could call their meeting in London and formation of Ibibio Sound Machine predestined. "Mama Say" and "Let My Yes Be Yes" touch themes of female empowerment. They're indicative of the band's depth as they push further into the electronic; "Mama Say" hits notes of electropop while "Let My Yes Be Yes" fuses electro to Afrobeat. Ibibio Sound Machine have always imbued their music with political consciousness, and the light that shines through in Williams' vocals and voice has never felt more necessary. The sound of Pull the Rope, then, is hope in darkness, bliss in spite of bleakness. Once again, Ibibio Sound Machine are here to provide the soundtrack to the best night of your life, and the better world to come.

Limited edition silver vinyl anniversary reissue of the Magnetic Fields' classic 1999 rumination on, of course, love. Funny, smart, dark, memorable, and a lifetime's worth of listening. Stephin Merritt solidifies his songwriting genius on his "most ambitious and fully realized work". (AMG) This vinyl reissue is remastered for vinyl and beautifully packaged in a 10" slipcase box with three double gatefold sleeves and a 24 page booklet!

Fünf Jahre nach Jessica Pratt's 2019 erschienenen Durchbruch-Album "Quiet Signs", taucht sie mit neuen Ambitionen und neuen Parametern für ihre Musik wieder auf. Für ihr neues, viertes Album "Here in the Pitch" arbeitete sie erneut in Gary's Electric Studio in Brooklyn und mit ihrem bewährten Team: Multi-Instrumentalist/Engineer Al Carlson und Keyboarder Matt McDermott.

Zusätzlich holte sie sich das Rhythmus-Duo Spencer Zahn und Mauro Refosco (David Byrne, Atoms for Peace) an die Seite, weitere Beiträge auf dem Album kommen von Ryley Walker, Peter Mudge (Mac Miller, Kendrick Lamar) und Alex Goldberg. Die Musik ist intim und emotional, wie es die Fans erwarten und die Texte sind ein impressionistischer Lobgesang auf die Unwägbarkeiten des Ehrgeizes. In den letzten 12 Jahren hat sich die verehrte Künstlerin aus Los Angeles zu einer der einzigartigsten Songwriterinnen ihrer Generation entwickelt. Vor allem durch die mystische, schwer fassbare Mischung aus ihrer zarten Akustikgitarre und ihrem atemberaubenden Gesang. Für "Here in the Pitch" schwebte Jessica Pratt eine größere Bandbreite an Einflüssen vor - große Panoramaklänge, die an den Ozean und Kalifornien denken lassen - und in diesen neun Songs werden Pauken, Glockenspiel, Baritonsaxophon und Flöte mit robusten Gesangsarrangements überlagert, die eine triumphale Stimmung erzeugen, selbst wenn die Texte auf Verwüstung hindeuten. Diese breitere Produktionspalette wird sofort beim eindringlichen Album-Opener und der ersten Single "Life Is" deutlich. Ein Schlagzeugwirbel erinnert an den großen, orchestralen Stil von 60er-Jahre-Pop-Hits wie "The Sun Ain't Gonna Shine Anymore" von den Walker Brothers.

Join Zombierella, Guitaracula & (introducing) Signor Mattia on their latest adventure to the "Dark Side of Paradise" - the all-new studio album from your favorite spooky-surf combo Messer Chups!

Nuron continues to make his mark on De:tuned with the long-awaited new 3-track EP 'Blanchimont'. Nurmad Jusat aka Nuron, one of the key figures from the golden era of 90s electronic music and UK techno, extends his legacy by swinging back into gear. On 'Blanchimont' Nuron combines his signature drum programming with uniquely lush and highly emotional synth arrangements. Futuristic aesthetics and mystic sounds to take over your senses. New and essential material!

Ian Anderson at The Designers Republic created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

Nuron continues to make his mark on De:tuned with the long-awaited new 3-track EP 'Blanchimont'. Nurmad Jusat aka Nuron, one of the key figures from the golden era of 90s electronic music and UK techno, extends his legacy by swinging back into gear. On 'Blanchimont' Nuron combines his signature drum programming with uniquely lush and highly emotional synth arrangements. Futuristic aesthetics and mystic sounds to take over your senses. New and essential material!

Ian Anderson at The Designers Republic created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

Interesting Decisions is the new album from Into It. Over It., the brainchild of Chicago, IL musician Evan Weiss . Considered to be one of the artists at the forefront of the 2010 emo revival, this is his eagerly awaited fifth studio album, after 2020's Figure. Into It. Over It. is an indie rock powerhouse that has been enchanting audiences since its inception in 2007. The band's emotionally charged lyrics and dynamic sound have garnered critical acclaim and a dedicated global following and their current formation includes Adam Beck on drums, Matthew Frank on bass, and Joe George on guitar.

"In a small room, tilt’s sound rings out like one big voice. Composed of vocalist Isabel Crespo Pardo, vocalist/bassist Carmen Quill, and trombonist/vocalist Kalia Vandever, the Brooklyn-based group writes intricate, viscerally affecting art-pop compositions that blend carefully interwoven motifs with improvisation. Their melodies are chiseled at extremes, vacillating between the angular and the achingly lyrical. All three members are accomplished artists and composers in their own right, coming from strong backgrounds in the jazz world, and featured alongside artists such as Harry Styles, Mary Halvorson, Dave Douglas, Matthew Barney and more. Their stunning debut LP "Something We Once Knew" is in its own class—a record that teaches us how to listen to it as it progresses. Recorded live in the studio without overdubs, its songs chart troubled and surreal journeys toward understanding or acceptance, passing through mystical corners of its members’ singular musical vocabularies. In these pieces, Quill and Vandever move fluidly between handling melodies with their voices and their instruments, harmonizing closely with Pardo’s melismatic lines. Though the band often works in carefully coordinated group gestures, some of the sharpest moments of catharsis on the record come during virtuosic passages highlighting individual members. Often, Crespo steps into the foreground of pieces, their unfettered vocal phrasing and unorthodox technical approaches investing the lyrics with additional layers of meaning. The music on "Something We Once Knew" might be most readily categorized as jazz, but it is hard to focus on anything but its sui generis aspects and its emotional charge."

It was the summer of 1996 in London. Rat Scabies had his studio 'The Arch' underneath Kew Bridge, in which various projects were recorded. At some point, Rat (The Damned), Derwood Andrews (Generation X) and Glen Matlock (Sex Pistols) drifted in to rehearse and write songs to record an album. Pretty soon they were ready to start recording, but they didn't have a singer. They called upon an old friend Gary Twinn (20 Flight Rockers), who flew in on the red eye from Los Angeles and immediately started recording. It may have been a good idea to give Gary time to get over the jet lag, and write some more songs. But Gary's lyrics were working well and it was sounding so good they started laying down the tracks. A day or so later, Martin Lee Stephenson, a young hot mixer came down to the Arches and mixed the seven tracks that were recorded. The plan was to do a few more songs and have a finished album. Gary went back to the west coast and started booking shows. It was all looking good, and it was fun. Then Glen called to say the Pistols had offered him to reform with a world tour called Filthy Lucre, and he'd be doing that for the next six months at least. So, Dead Horse was truly dead, and the whole idea was abandoned. These tapes have been on the shelf for almost 30 years. These tapes are being released in the interest of music history, and the fact that they were never quite finished shouldn't matter to anyone. The quality of the people involved shines through.

Dream team trio Better Corners – Valentina Magaletti, Sarah Register and Matthew Simms – have completed a staggering new album Continuous Miracles: Vol. 2 for state51 Conspiracy, and where their debut LP joyfully opened the door to a brand new room, this one strides purposefully inside.

Renowned drummer/percussionist Magaletti (Holy Tongue, Vanishing Twin, Moin), avant rock musician and in demand mastering engineer Register (Kim Gordon, Talk Normal) and multi-instrumentalist and modular obsessed Simms (Wire, MEMORIALS) inject an all-too-rare sense of childlike wonder and joy into their own inimitable collage of experimental rock, wonky dream pop, analog ambient, tape experimentation, avant percussion, modular electronics and noise music.

It is this sense of fun that led to one of the band’s “uncovers”: ‘Modulating De Niro’ began with a solo piano version of Bananarama’s ‘Robert De Niro’s Waiting’ which was then sent on a very long journey through modular synth patches and FX chains until it became the unrecognisable to the original and the majestic beast it is now. The album centres round the colossal 16- minute-long ‘Career Test’, a dynamic trip through glitch-enhanced noise, machine dub and the ambience of amplified rock music, to a transcendent, mind-expanding modern raga.

Like an industrial Gamelan played by a future civilisation who have never heard it, only read about it in ancient books, the song is formed from bowed treated guitars, hypnotic hand drums, water bowl and bells. It also has a suitably macabre genesis, as Register reveals: “I was visiting my aunt's house and slept in her bedroom. In the headboard of her bed are places for curiosities and heirlooms. In these spaces she had box after box of the ashes of pets of hers that I had known over the years…”