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-Long-awaited fourth solo effort by one of today's most talented Brazilian artists and the follow up to the now classic Early Bird album.
-Entirely written and recorded at the Ilha Do Corvo studio in Belo Horizonte, Minas Gerais, Brazil.
-180g heavy vinyl pressing, reverse board print, comes with lyrics and their English translation.

"I imagine this record to be just like a flea market, an ensemble of nostalgia, a collage of memories, of dreams, ideas, sounds, words, feelings, places, eras and styles. A unique sonic sound space that I've been trying to create for my own music. This is also a record about getting old, about the uneasiness of life, but also about how to embrace it and enjoy the ride. About taking a trip to a place and a time that we have never been to, but that we long for. " - Leonardo Marques

A multi-talented musician, singer songwriter and record producer full of tales to tell, Leonardo Marques has released three solo records – Dia e Noite no Mesmo Céu in 2012, Curvas, Lados, Linhas Tortas, Sujas e Discretas in 2015, and Early Bird in 2018. All of Leonardo's solo albums have been released in Japan by Disk Union and the latest one, Early Bird, has also been released worldwide on vinyl format by 180g x Disk Union.

Leonardo was the guitar player of Diesel (later called Udora), one of the main alternative rock bands in Brazil in the early 2000's. The band was on the main line up of the Rock in Rio III Festival, playing for over 250,000 people as an opening act for the Red Hot Chili Peppers, Silverchair, and Deftones. Leonardo then moved to Los Angeles with the band and signed a record deal with Clive Davis (J Records / RCA) and worked with Matt Wallace (Maroon 5, Faith No More), Gavin Macklop (Goo Goo Dolls, Toad the Wet Sprocket), Camus (David Byrne, Arto Lindsay), Bob Marlette (Black Sabbath, Tracy Chapman, Alice Cooper), and 16-time Grammy Award winner Thom Russo (Michael Jackson, Audioslave, Johnny Cash, Maná).

Back to Brazil a few years later, Leonardo launched his Ilha do Corvo recording studio in Belo Horizonte, Minas Gerais, Brazil. The studio is equipped with vintage instruments and gear from various decades which creates a unique sonic landscape and sound signature in each record it produces.

With Flea Market Music, Leonardo Marques presents his long-awaited fourth solo effort and the follow up to the now classic Early Bird album, with a majestic and unique musical trip into nostalgia, dreamy textures and lo-fi flavors, entirely written and recorded at his Ilha Do Corvo studio. This is essential Brazilian contemporary music at its best!

LP comes with a Side D etching in triple gatefold jacket + full album download. The Will to Live was produced by Titus Andronicus singer-songwriter Patrick Stickles and Canadian icon Howard Bilerman (Arcade Fire, Leonard Cohen, The Whole Nine Yards) at the latter’s Hotel 2 Tango recording studio in Montreal. Drawing on maximalist rock epics from Who’s Next to Hysteria, Bilerman and Stickles have crafted the richest, densest, and hardest hitting sound for Titus Andronicus yet. All at once, the record matches the sprawl and scope of the band’s most celebrated work, while also honing their ambitious attack to greater effect than ever before. “It may strike some as ironic we had to go to Canada to record our equivalent to Born in the USA,” quips Stickles, “but the pursuit of Ultimate Rock knows no borders. ”For his recent stretch of personal stability, he credits a newfound domestic bliss and steadfast mental health regimen (“Lamictal is a hell of a drug”) as well as the endurance of what has become the longest-running consistent lineup of Titus Andronicus—Liam Betson on guitar, R.J. Gordon on bass, and Chris Wilson on drums. On the crueler side of the coin, however, The Will to Live was created in large part as an attempt to process the untimely 2021 death of Matt “Money” Miller, the founding keyboardist of the band and Stickles’ closest cousin. Stickles explains: “The passing of my dearest friend forced me to recognize not only the precious and fragile nature of life, but also the interconnectivity of all life. Loved ones we have lost are really not lost at all, as they, and we still living, are all component pieces of a far larger continuous organism, which both precedes and succeeds our illusory individual selves, united through time by (you guessed it) the will to live.” “Naturally, though, our long-suffering narrator can only arrive at this conclusion through a painful and arduous odyssey through Hell itself,” he qualifies. “This is a Titus Andronicus record, after all.” When Titus Andronicus made their long-awaited return to the stage in 2021, it was to celebrate the anniversary of their landmark breakthrough The Monitor, and the act of playing that material before an ecstatic audience left the band determined to deliver an album that would reach for those same lofty heights, relying this time less on the reckless fire of youth and more on the experience and perspective at which a band only arrives with a thousand shows under their belt. Through this golden ratio, Titus Andronicus have arrived at the peak of their creative powers. From its adrenalizing opening instrumental “My Mother Is Going to Kill Me” to its wistful closing benediction “69 Stones,” The Will to Live conjures a vast landscape and sends the listener on a rocket ride from peak to vertiginous peak. Rock fans will find themselves a feast, whether they crave barn-burning rock anthems such as “(I’m) Screwed” and “All Through the Night,” rapid-fire lyrical gymnastics (“Baby Crazy”), symphonic punk throwdowns (“Dead Meat”), or an adventurous excursion into the darkness that delivers thrills as it breezes boldly past the 7 minute mark, “An Anomaly.” As if that wasn’t enough gas for the tank, The Will to Live features sterling contributions from members of the Hold Steady, Arcade Fire, and the E Street Band, as well as duets with the aforementioned Betson, former Titus Andronicus drummer Eric Harm, and Josée Caron of the Canadian rock band Partner. The album comes packaged with gorgeous triple-gatefold artwork by illustrious illustrator Nicole Rifkin, a Hieronymus Bosch–inspired triptych which mirrors the three-part structure of the narrator’s perilous voyage across the corresponding three sides of vinyl. All together, this esteemed ensemble, with Stickles and Bilerman determined and defiant at the helm, have found The Will to Live—now, the question is… will you?

SIDE A 1. My Mother is Going to Kill Me 2. (I’m) Screwed 3. I Can Not Be Satisfied 4. Bridge and Tunnel SIDE B 5. Grey Goo 6. Dead Meat 7. An Anomaly SIDE C 8. Give Me Grief 9. Baby Crazy 10. All Through the Night 11. We’re Coming Back 12. 69 Stones SIDE D Etching

Before New Zealand's Salad Boys, there was T54, also fronted by Joe
Sampson, joined by Matt Scobie on drums and Sam Hood on bass - T54
featured a visceral, sonic guitar sound, perhaps out of step with most of
the Flying Nun bands at the time
Joe describes T54 as being stuck in the wrong era somewhat yet enduring well in
NZ for those who bought the music and saw us live at the time. Originally
released in 2011, Ally is proud to bring you an expanded and remastered limited
vinyl edition of their first ep that also includes several demos and live tracks. Be
prepared to be wowed by this noisy three piece from Christchurch influenced by
classic NZ bands who also have three members (The Clean) or numbers in their
name (The 3Ds) -- like The Clean, The 3Ds, and other NZ greats, T54 will not
disappoint!
Tracks: Birds / Julie K / CR Model / Vehicle / Singer in Mouth / Death Drive / CR
Model / Life Is Swell / O Nina / Fred Gavin / Kill Red / Julie K / Le Snack / Choose
Your Own Ending / Localism / Soon I'll Be Nicking Speed Boats / House Music /
Julie's Last Wish / Nurse Jen / Christian Dale

With Panorama, Frank Maston pays homage to the classic era of library records and Italian soundtracks of the 70s. A blissed-out, grooving collection of filmic cues, it continues the unique brilliance of Tulips and Darkland. Elegant and easy, subtle and stylish, breezy and beautiful; this is his Maston-piece. Commissioned by legendary label KPM, Panorama cements Maston as a master of modern classics and the most mesmeric of contemporary composers.

In early 2020, Be With suggested to Frank that he should make a KPM record. He wasn't aware that they were still putting out new library records - but he was super keen: "It was completely surreal and it still hasn't fully sank in that I have a record in that catalog, sitting alongside those incredible albums that were so influential to me."

Frank was visiting family in his hometown of LA in March 2020 when the world ground to a halt so the KPM project arrived at a fortuitous moment. Having fantasised about committing to a record with no distractions, with a proper budget, access to his gear and space to work in - to really dig in and try to write and arrange the best work he could possibly make - it was a real "be careful what you wish for" moment. But, as Frank explained, "it completely saved my year and sanity to have something to focus on and get excited about. It was my lifeline." He spent seven months on it, working almost every day.

Maston had already been making library-influenced music so when KPM outlined the criteria for the tracks it was exactly what he had been doing all along. He thought the best approach would be to make a follow-up to Tulips that had a parallel life as a KPM record. Enjoying complete creative freedom, “gave me the drive to power through and dig in deep. I'm not sure if I could have kept myself on such a rigorous recording schedule under my own steam, and I think the momentum I had writing and recording it is part of the strength of this record."

Maston’s sleek retro-groove instrumentals emulate the classic KPM “Greensleeve” reel-to-reel recordings that provided mood-setting music for mid-century cinema, television, and radio programs. Apparently in close conversation with the John Cameron-Keith Mansfield KPM pastoral masterclass Voices In Harmony, Maston's Panorama could be heard as that record's funky follow-up. Yes, it's *that good*. Another reference point from the hallowed library would be Francis Coppieter's wonderful Piano Viberations.

Opener "First Class" is a blissed-out groove, featuring the soothing vocals of Molly Lewis and a glistening harp over drums, a two-note bass motif (from Eli Ghersinu of L'Eclair) and an assemblage of guitars, synths, French horn and glowing vibraphone. Acid Lounge, anyone? The irresistibly funky "Easy Money" is a gorgeous cut led by more of Molly's vocals, pastoral flute and Rhodes, underpinned by drums and percussion, grooving bass, chilled guitars and synth strings. Kicking the tempo up, the percussive "Storm" is a vibin' filmic-fusion jam where psychedelic guitars (courtesy of Pedrum of Allah Las/Paint) organ, jazzy flute, Rhodes and vibes all compete for a place in the sun, over drums and walking bassline.

The heavenly "You Shouldn't Have" is a delicate, melancholic wonder; a dreamy instrumental where the melody is shared by a whistle, harpsichord and celeste, over a cyclical piano chord sequence and bass, synths, guitars, organ and distant French horn. The tempo rises again with the passionate, sticky "Fling", a summery, nostalgic groove with skipping drums and percussion, warm bass and electric guitar, yearning flute and synth strings. The brilliantly titled "Fool Moon" has that Voices In Harmony sound down pat. A romantic slow-mo dreamscape of Rhodes and harpsichord, piano, light drums and softly strummed acoustic guitar.

Side B opens with "Medusa", a hopeful, mellowed-out track with shuffling drums, feel-good flute, muted horns, glowing Rhodes and synth strings. The soft and gentle "Morning Paper" is an elegant way to start the day; a beatless blend of flute, guitar, percussion, ambient synths and vibes. The upbeat head-nod jam "Scenic" has that widescreen car-chase feel, uptempo drums and percussion, grooving bass, piano, synths and ambient electric guitar. "Adieu" is a smooth summer vibe, relaxing with brushed drums, Rhodes, flutes and horns. Molly Lewis's gorgeous vocals steal the show, alongside vibes, jamming organ and synth strings.

"Hydra" is another laid-back 70s-sounding retro cinema cue with light drums and percussion, walking bass, spacey synths, clavinet, glowing vibraphone, vintage organ and electric guitar. Closer "Jet Lag" is a laconic bow out; bass-driven drum machine soul, featuring hand percussion, Rhodes, vibes, synths and organ.

Multi-instrumentalist Frank played a bit of everything across Panorama. Yet, humble as ever, he believes the time, energy, and enthusiasm of all of the musicians invited to the sessions helped him realise his vision: "There were two Italian flautists who really understood what I was going for. Two french horn players, cor anglais, a vibraphonist and a flügel horn player. I've never involved this many people in my projects before, and yet the result is the most "me" record I've ever made."

Musically, a strong Italian theme runs through the record. Frank is fascinated by ancient Rome and both his parents are Italian (Maston was originally Mastrantonio before anglicisation). So, it felt natural to fully embrace these strands and tie everything together with the striking artwork. The Romans were influenced by Greek culture, emulating their art and architecture, which, in turn, influenced Renaissance era artists. Frank acknowledged this tradition when reflecting on his place in the lineage of library and soundtrack composers. He then asked his friend Mattea Perrotta, a painter and sculptor, for some sketches. What he received was exactly what he had in mind: "Especially the theater mask, which really captures the range of moods on the album". Frank arranged them as per the cover and it soon felt right: "I wanted to make a cover that was reminiscent of the classic KPM albums without making it too pastiche - so it has its own identity and looks at home alongside other library records, while still fitting in nicely in the KPM catalogue." The last step was for us to introduce Frank to Be With-KPM’s Rich Robinson, who helped put together the back and centre labels and align it all within the KPM standard.

Panorama is a perfect title for the album. With no opportunity to travel for tours or recording projects, Frank arranged postcards from his collection on his desk with beautiful views of the mediterranean coast, the Roman Colosseum and Cinque Terre. These also served as visual prompts: "That was part of the sonic concept - imagining myself driving down the mediterranean coast with this music on, with the top down." Additionally, the range of moods and vibes - "I tried to make each song very different from the previous one in terms of tempo and arrangement and feeling" - speaks to the idea of a Panorama of music and sounds and emotions. The last track was originally called Panorama, but KPM already had that title in their catalogue so it was changed to "Jet Lag", which, as Frank notes, "is perhaps even more fitting, since the trip is over".

Sublime unreleased soundtrack by Ron Geesin, to one of the most important and controversial films in British cinema history.
Standard black vinyl (750 Copies) with sleeve art taken from the 1971 film poster. Cool as fuck.
Side One is the score for Sunday Bloody Sunday, the controversial 1971 drama directed by John Schlesinger. Starring Peter Finch, Glenda Jackson and Murray Head, it tells the story of an open love triangle between a gay Jewish doctor, a divorced woman and a bisexual young male artist who makes glass fountains. Daniel Day Lewis also makes his uncredited screen debut as a yobbo scratching up posh cars. The films significance at the time of release lay in the depiction of a mature gay man who was both successful, well adjusted and at peace with his sexuality.

The music on Side Two comes from two different sources: tracks one to four are from the 1985 Channel Four documentary about Viv Richards. Simply called “Viv” it was directed by Greg Lanning, with words and narration by Darcus Howe. It was (and still is) a fascinating film recounting Richards’ rise from young talented Antiguan to global cricket superstar. It also explored the long history of West Indian players through the English game. Howe later recalled how seeing Viv Richards walking out to bat at the Oval (just down the road from where Howe lived in Brixton) without a helmet on no matter how fast the bowler was - and wearing his Rasta sweatbands of gold, green and red, was inspirational. The documentary was later re-titled ‘Viv Richards - King Of Cricket’ for the video market, and let’s face it, that’s a more commercial title. I’d strongly recommend trying to track it down to spend an hour or so in the company of Viv and Darcus. As I write this it’s still up on a popular online streaming site for free.

The last six cues of Side Two are from a 1970 BBC Omnibus film ‘Shapes In A Wilderness’. Directed by Tristram Powell this was a documentary about the importance and influence of art therapy in mental hospitals, tracing its origins from a painting hut in a wartime military hospital to its successful and widespread incorporation in institutions. It featured fascinating medical insights, disturbing imagery and Ron’s finely tuned accompaniment. On its original transmission John Schlesinger saw it and was heard to say “I must have that composer for my new film!”. And he got his way.

I could spend another paragraph analysing the music and stuff like that but you can listen and work all that out for yourself. But I will say that all the music just confirms the fact that Ron Geesin is one of the most underrated, inventive and versatile composers (and musicians) we have.

There’s no escaping the motherlode - that eternal continuum of high drama and overheated amp stacks fit to raise the pulse and revivify the spirits. It’s merely an unmistakable band chemistry that transforms base hard rock into gemstones, and this process is an increasingly rare phenomenon in the here and now. Luckily for Stockholm’s alchemists LUGNET, they are one of the few. Here in these steamrollering grooves and strident anthems is just the kind of swagger and bravado on which rock built its foundations in the ‘70s, yet without any of the cliches or the bloated self-importance. The roots of LUGNET may be visible to see, and the primal stomp of early Deep Purple, the apocalyptic sermonising of Black Sabbath and the cinematic majesty of Rainbow can easily be detected in the almighty sturm-und-drang. Yet this sound is delivered with charisma and maverick energy that effortlessly summons fresh vibrant life to a classic form. The spark that lit LUGNET originates in 2009, when Fredrik Jansson-Punkka (also drummer of Angel Witch, and whose storied history includes stints in Witchcraft, Abramis Brama and Count Raven) met bassist Lennart ‘Z’ Zethzon at Sweden Rock Festival and the two first discussed getting together to jam. Three years later this finally came to fruition and guitarists Bonden Jansson and Mackan Holten joined the fray, alongside vocalist Roger Solander. An original plan to play ‘70s blues-rock with Swedish lyrics was ultimately warped and transformed into the monumental attack of 2016’s self-titled debut proper on Pride & Joy Music. The road to ‘Nightwalker’ saw changes afoot in the band, as Solander was replaced by the soulful pipes of Johan Fahlberg, who matches the swashbuckling charm of the Dio/Coverdale tradition with flourishes and personality all his own, whilst Bonden Jansson made way for wunderkind new guitarist Matti Norlin. This was a quantum leap on from the debut, replete with fiery interplay and incisive song writing, from the slow Zeppelin-esque catharsis of ‘Death Laughs At You’ to the monstrous ‘Stargazer’-esque grandeur of the mellotron-assisted finale ‘Kill Us All’. The aftermath saw Lugnet traverse from strength to strength, a notable highlight being packing out their tent at Sweden Rock Festival in 2018 even whilst a certain Birmingham-birthed Prince Of Darkness himself occupied the main stage across the field. Michael Linder (formerly of Troubled Horse) soon replaced Mackan Holten, and this line-up has subsequently amassed enough material for two albums, with all members throwing their hat into the ring song writing-wise. One of these ‘Tales From The Great Beyond’ has already been recorded at SolnaSound Recording with the dream-team of Simon Johansson (Wolf/ Soilwork) and Mike Wead (King Diamond/ Mercyful Fate) at the helm / mixed by Marcus Jidell (Avatarium/ Candlemass). Just like for the debut album, the front cover artwork was designed by Vance Kelly. Whatever the future holds for Lugnet, only a fool would bet on the result not being a spectacular explosion of righteousness. This machine is firing on all cylinders, and rockers of all persuasions would be well advised to get on board or get out of the way. Track listing: Still A Sinner; In Harvest Time; Another World; Out Of My System; Svarv; Eaten Alive; Pale Design; I Can’t Wait; Black Sails; Tåsjö Kyrkmarsch

Originally released in 1995, this reissue edition is becoming available as
180g Double 12" Black Vinyl LP, along with a Limited Collector's Edition
on Heavyweight Red Double Vinyl
Both editions are mastered for vinyl, reissued with the original cover design,
specially enhanced artwork, including a 16-pages LP booklet with extensive liner
notes by Clay Marshall and carry an exclusive, previously unreleased live bonustrack. Exclusive to the Limited Collector's Edition is a 1996 European Tour Poster
Replica.
LP Red LP Tracks: Overture / Sarajevo / This Is The Time (1990) / I Am /
Starlight / Doesn't Matter Anyway / This Isn't What We Meant / Mozart And
Madness / Memory (Dead Winter Dead Intro) / Dead Winter Dead / One Child /
Christmas Eve (Sarajevo 12/14) / Not What You See / The Storm - This Is The
Time (Live in Neu Isenburg 1997) (Bonus Track)
LP Tracks: Overture / Sarajevo / This Is The Time (1990) / I Am / Starlight /
Doesn't Matter Anyway / This Isn't What We Meant / Mozart And Madness /
Memory (Dead Winter Dead Intro) / Dead Winter Dead / One Child / Christmas
Eve (Sarajevo 12/14) / Not What You See / The Storm - This Is The Time (Live in
Neu Isenburg 1997) (Bonus Track)

Originally released in 1995, this reissue edition is becoming available as
180g Double 12" Black Vinyl LP, along with a Limited Collector's Edition
on Heavyweight Red Double Vinyl
Both editions are mastered for vinyl, reissued with the original cover design,
specially enhanced artwork, including a 16-pages LP booklet with extensive liner
notes by Clay Marshall and carry an exclusive, previously unreleased live bonustrack. Exclusive to the Limited Collector's Edition is a 1996 European Tour Poster
Replica.
LP Red LP Tracks: Overture / Sarajevo / This Is The Time (1990) / I Am /
Starlight / Doesn't Matter Anyway / This Isn't What We Meant / Mozart And
Madness / Memory (Dead Winter Dead Intro) / Dead Winter Dead / One Child /
Christmas Eve (Sarajevo 12/14) / Not What You See / The Storm - This Is The
Time (Live in Neu Isenburg 1997) (Bonus Track)
LP Tracks: Overture / Sarajevo / This Is The Time (1990) / I Am / Starlight /
Doesn't Matter Anyway / This Isn't What We Meant / Mozart And Madness /
Memory (Dead Winter Dead Intro) / Dead Winter Dead / One Child / Christmas
Eve (Sarajevo 12/14) / Not What You See / The Storm - This Is The Time (Live in
Neu Isenburg 1997) (Bonus Track)

Black White Splatter Vinyl

When two musicians intensively work together for a period of time, at some point the whole becomes greater than the sum of its parts. If Paul Boex and Dave Miller hadn't already reached that status under their Abstract Division moniker, they certainly have now, with the release of Midnight Ensemble, their first full length album.

Those who have followed the duo since their early days of playing dj-sets together, know that it's hard to define their style anywhere beyond techno or even electronic music, as it is ever evolving and always dependent on the time of the day or night. When listening to this album, the resemblance between their unpredictable selection behind the decks and the eclectic range of subgenres on this album is more obvious than ever before. Midnight Ensemble could be interpreted as an ode to nightlife; a reminiscence of all that happens between dusk and dawn, captured and compressed into about one hour of music. An hour in which they so delicately time their changing of styles and tempos, always reading the room and always being one step ahead of the crowd.

This album is a reflection of that skill, starting its journey with soothing, moodsetting ambient, followed by timeless pieces of Detroit and dubtechno. A daring electro cut providing a refreshing break from the four to the floor tradition, only to be followed by the stripped down sound the duo is so comfortable with.

The final minutes consist of experimental breaks, one last banger to pull out the last bits of energy that is left and a beautiful outro, which concludes the allnighter vibe. There are no open endings, it doesn't make you want to stay in the dark forever. Rather it makes you want to close your eyes one last time before walking outside to see the sun come up again before going home, overwhelmed and satisfied.

Of all the celebrated home recording artists that haunt the pages of
Bandcamp and the basements of the DIY touring circuit, few have had an
output as eclectic, enigmatic, and consistent as The Cradle's Paco
Cathcart
In a departure from The Cradle's more lo- fi works, "Radio Wars" bounces from
track to track with a polished exuberance as Cathcart delivers some of their
catchiest music to date. Pumping with auto- tuned nursery rhyme hooks and
densely-programmed drum machine beats, the album boasts a sonic palette that
owes as much to the production of DJ Rashad and the erratic vocal approach of
Playboi Carti as it does to Cathcart's more familiar Dub and Gamelan influences.
It's a musical world that draws you in quickly and leaves you deeply immersed
throughout its 22 - track running time.
As with previous releases, Cathcart's lyrics celebrate and reflect on the profundity
of day-to-day city life experiences. The words are delivered through deceptively
simple refrains that often mask challenging subject matter. Radio Wars was
written and recorded in NYC in the lead up to and during the COVID-19 pandemic,
a time which included the run up to the electoral defeat of a fascist president,
historic protests against police abuse across the country, as well as the early
months of the pandemic, when NYC was at the center of the outbreak. Social and
political dissonance, alluded to in the album's title, was at a high, and that air of
contradiction can be heard throughout, bleeding into moments that feel intimate
and reflective. Coupled with bold production choices and feverish energy
throughout, "Radio Wars," is a Cradle album of and for the times.
Tracks: Lights Off / Tell Me What You Want / Ha Ha Ha! / Black River Side / My
Right Side / American Spirit / I Went in and You Came Out / Radio Wars / Let’s
Clean Up / City Life / Numb Time / I Love that Music / It’s Not Related / What’s in
Between / I Love the World I’m In

Temples is a tempting invitation into another world, full of light and movement. From the second the synth comes in this track has got us deep in its pocket. Shotter manages something that is hard to achieve - he has us floating completely, yet steadily carried by tip-toeing metallic rhythm elements and the relentless swells of bright synths. The game changer in the second half is a new, gritty bass quality, which couldn't roll in any more fiercely. At its fullest the track has us in an uncompromising trance, a relentless movement that we don't ever want to escape from. Breaking back down to pleasantly gentle hi-hat reverb-tails and inducing synth patterns Temples lets us down easy, with the unspoken promise to return.

Ueno claims the room to itself completely and immediately. The rise and fall of melodic synth lines lead us through a labyrinth at first, leaving plenty of space for imagination. Before we notice playful call-and-response rhythms are teasing our ears, until the track surrenders itself to an ever-growing wave of synth patterns and their behind-the-beat-delay. It climaxes into a haunting silence with tenuous high-pitched sounds and a clear outer space feel. Finally, all elements lock into a comforting groove, driving us forward, not too fast, not too slow - exactly right.

The track starts off with a blissfully nostalgic vintage-feel - slightly muffled, like the humbling quality you get from an old Technics playing your favourite LP. But don't be fooled, Cube March is bold. And unexpected. Stomping rhythms take over quickly and full-blown gritty synth-stabs cut the air effortlessly, like blades. An unapologetic and careless pumping bass line makes us want to move with every cell in our body. Shotter demonstrates his fearlessness in experimenting with heavy contrasts and elements from different genres here. A break with tastefully placed repetitive rhythm elements is complemented by the constant ebb and flow of melody lines. Both in volume and presence they fluctuate, one handing over the spotlight to the other seamlessly, keeping us hooked until the very end.

This remix lures you away from reality in a matter of seconds, with Definition's signature heavy hitting bass dominating. He expertly weaves shimmery fills into buoyant synth lines and brings us a skilful mix of dark minimal techno, breaks and infectious monster synth lines. Every so often, he adds a new layer, increasing the depth of the track, before letting it all crumble in a breakdown where time stops and tension grows, as we impatiently await the next rise to carry us away. The lengthy build-ups give this remix the energy to fill any room, easily. It is subtle, yet propulsive, too - a lane that Definition seems to manage regularly.

Perc returns to Perc Trax with 'Dirt', one of his most raw and uncompromising works to date. Across three versions of the track, one remixed in collaboration with rising US star EAS, Perc fuses together dry looped techno with caustic industrial sounds and just a splash of rave euphoria.

Opening up the release is the original mix of 'Dirt' layering searing top end percussion over cropped breakbeats before dropping unexpectedly to an unmistakable classic piano riff. The riff has been completely replayed and reproduced rather than sampled and provides the kind of sudden jolt that Perc's productions are famous for.

On the B-side Perc teams up with Los Angeles DJ and producer EAS who returns to the label for the first time since his devastating remix of Perc's own 'Dumpster' in early 2021. Perc provides the beats and EAS serves up the 303 lines, as the hedonism of the original mix's piano drop is swapped for a screw faced slice of warehouse acid.

Rounding off the release is Perc's own 'Crowd Mix' which focuses on the beats with additional layers of percussion and atmospheric crowd samples filling the space taken by the piano hook and acid lines of the first two mixes.

'Dirt' will be released as a hand-stamped white label release in a stickered black paper sleeve. The release was mastered by regular Perc Trax mastering engineer Matt Colton at Metropolis studios with Adult Art Club handling visual presentation and design.

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.

Things are looking up for The Harlem Gospel Travelers, who return here with a new album, a new lineup, and a new lease on life. Produced by Eli Paperboy Reed, Look Up! marks the group's first full-length release as a trio, as well as their first collection of totally original material, and it couldn't have come at a more vital moment. The music still draws deeply on the gospel quartet tradition of the '50s and '60s, of course, but there's a distinctly modern edge to the record, an unmistakable reflection of the tumultuous past few years of pandemic anxiety, political chaos, and social unrest. The songs are bold and resilient, facing down doubt and despair with faith and perseverance, and the performances are explosive and ecstatic, fueled by dazzling vocal arrangements punctuated with gritty bursts of guitar and crunchy rhythm breaks. Born out of an non-profit music education program led by Reed, The Harlem Gospel Travelers_singers Thomas Gatling, George Marage, and Dennis Bailey_released their debut LP, He's On Time, to rave reviews in 2019, with Pop Matters hailing the album's "musical transcendence" and AllMusic praising it as "dreamlike and joyous." The record charted on Billboard, earned the Travelers high profile fans like Elton John (who invited them to appear on his Rocket Hour radio show on Apple Music), and landed them festival slots everywhere from Pilgrimage to Telluride Jazz.

For Fans Of: The Flying Stars Of Brooklyn NY, Durand Jones & The Indications, Como Mamas, Eli Paperboy Reed, Naomi Shelton & The Gospel Queens. Things are looking up for The Harlem Gospel Travelers, who return here with a new album, a new lineup, and a new lease on life. Produced by Eli Paperboy Reed, Look Up! marks the group’s first full-length release as a trio, as well as their first collection of totally original material, and it couldn’t have come at a more vital moment. The music still draws deeply on the gospel quartet tradition of the ’50s and ’60s, of course, but there’s a distinctly modern edge to the record, an unmistakable reflection of the tumultuous past few years of pandemic anxiety, political chaos, and social unrest. The songs are bold and resilient, facing down doubt and despair with faith and perseverance, and the performances are explosive and ecstatic, fueled by dazzling vocal arrangements punctuated with gritty bursts of guitar and crunchy rhythm breaks. Born out of an non-profit music education program led by Reed, The Harlem Gospel Travelers singers Thomas Gatling, George Marage, and Dennis Bailey released their debut LP, He’s On Time, to rave reviews in 2019, with Pop Matters hailing the album’s “musical transcendence” and AllMusic praising it as “dreamlike and joyous.” The record charted on Billboard, earned the Travelers high profile fans like Elton John (who invited them to appear on his Rocket Hour radio show on Apple Music), and landed them festival slots everywhere from Pilgrimage to Telluride Jazz. Tracks: 1. Look Up! 2. Hold On (Joy Is Coming) 3. God's in Control 4. Help Me To Understand 5. Nothing but His Love 6. Fight On! 7. Hold Your Head Up 8. That's the Reason 9. Let Me Tell You 10. God Will Take Care of You 11. I'm Grateful

For Fans Of: The Flying Stars Of Brooklyn NY, Durand Jones & The Indications, Como Mamas, Eli Paperboy Reed, Naomi Shelton & The Gospel Queens. Things are looking up for The Harlem Gospel Travelers, who return here with a new album, a new lineup, and a new lease on life. Produced by Eli Paperboy Reed, Look Up! marks the group’s first full-length release as a trio, as well as their first collection of totally original material, and it couldn’t have come at a more vital moment. The music still draws deeply on the gospel quartet tradition of the ’50s and ’60s, of course, but there’s a distinctly modern edge to the record, an unmistakable reflection of the tumultuous past few years of pandemic anxiety, political chaos, and social unrest. The songs are bold and resilient, facing down doubt and despair with faith and perseverance, and the performances are explosive and ecstatic, fueled by dazzling vocal arrangements punctuated with gritty bursts of guitar and crunchy rhythm breaks. Born out of an non-profit music education program led by Reed, The Harlem Gospel Travelers singers Thomas Gatling, George Marage, and Dennis Bailey released their debut LP, He’s On Time, to rave reviews in 2019, with Pop Matters hailing the album’s “musical transcendence” and AllMusic praising it as “dreamlike and joyous.” The record charted on Billboard, earned the Travelers high profile fans like Elton John (who invited them to appear on his Rocket Hour radio show on Apple Music), and landed them festival slots everywhere from Pilgrimage to Telluride Jazz. Tracks: 1. Look Up! 2. Hold On (Joy Is Coming) 3. God's in Control 4. Help Me To Understand 5. Nothing but His Love 6. Fight On! 7. Hold Your Head Up 8. That's the Reason 9. Let Me Tell You 10. God Will Take Care of You 11. I'm Grateful

“Passing Signals” is the Suction Records label debut of The Jaffa Kid, aka UK producer Daniel Pringle. Over the past few years, The Jaffa Kid has been building up a strong following amongst braindance/d’n’b/acid heads, with killer releases on labels like 030303, Altered Sense, Utter, and his 2 standout “anonymous” WH03 and WH09 EPs on the Withhold label series.

From the melody-drenched 303 acid of “Olyqu” and “Xom”, to the Bochum Welt-style electro vibes of “Ief” and “Tropet”, it was clearly just a matter of time before The Jaffa Kid appeared on Suction. With these 8 carefully curated tracks, Suction Records delivers 8 tracks of timeless melodic electronics, and surely the most solid The Jaffa Kid release to date, in our books!

Available digitally, and on limited vinyl LP in a reverse board jacket — includes a Bandcamp download card inside.

"My debut album "Leidenzwang" is the consequence of boundless obsession" apostrophizes Kenji Araki with stoic calm. An obsession in the most positive as well as in the most negative of all senses, involving a wide variety of media. Kenji, in his early 20s, is known to be a digital and interdisciplinary artist from Austria with roots in Japan whose work is primarily influenced by the deconstruction of music and contemporary art.

"Leidenzwang" (in English: Suffering compulsion) is confrontation. Confrontation with the world. Confrontation with oneself. A confrontation that can be productive and cathartic. However, until Kenji Araki was able to get into this pattern of thinking, it was necessary in the process of creation to leave his very own sanctuary which he cultivated over the years. Escapism in the rear-view mirror of the past. "Leidenzwang" as a natural hybrid of passion (probably the most beautiful feeling a creatively active person can experience) and dangerous self-flagellation plus constant unrest. The result and musical core of Kenji Araki's debut album is an experimental, emotional post-club exploration with pop sensibility that deliberately ignores genre boundaries.

12 tracks spread over 50 minutes in fast forward: It starts with the adequate intro "Avant" - a primal scream. Next with "Matter" where Kenji collaborates with Thomas Mertlseder and constructs the sound world of a dark fashion film. Emotional highlights for the vividly vibrating club floor as well as for the digital terminals of Planet Earth delivers "Nabelschnurtanz" with its amalgamation of human sound waves. Followed by "Gel & Gewalt" - a combination of 90s Grunge, IDM and exponential rhythms - the fierce "SINEW" with its distorted double bass recordings and "Monomythz" which is Kenji's interpretation of a club banger with a combination of 2000s Eurodance aesthetic and hypermodern off kilter beats.

A moment to take a breath is offered by the spherical track "Milieu" which was written during an emotional low and thus naturally has a dark note. At position 8 is "lluviácida" - inspired by the "rave scene" observed from afar. Closely followed by the album's title number "Leidenzwang" with its granularized piano melodies while nature sounds can be heard in the background.

The album finale is formed by the polyrhythmic fireworks "Deathless Mess", the piece "Isan 世襲" (in Japanese heritage) which symbolizes the own inner turmoil and at the same time acoustically illustrates the relationship to his origin. And the conclusion is marked by the heartbreaking "Au-Dèla" as the epitome of a closer. Kenji Araki: The time is now.

Released on the Amsterdam based label Q1E2 Recordings, the “Move On” EP is Papi Gaba’s modern take on old school- and Lofi House. Papi Gaba's music takes a surgical and alternative turn from conventional House and pushes the genre into a new direction. The EP is the result of Papi Gaba's first experiments with tape recorders
and cassette tapes, and characterised by warm, melodic, melancholic, and crunchy sounds. Papi Gaba’s tracks are suited for the club, while at the same time perfect for any old dusty living room sound system.