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Paolo Rocco delivers his ten-track debut album ‘Life In Pieces’ this April on FUSE.

Born Canadian of Italian descent, Montreal-based DJ and producer Paolo Rocco has emerged as one of the most consistent names within house music over the past decade, with a wealth of material via the likes of Hot Creations, PIV, Berg Audio, Constant Sound, Taverna Tracks, and Rutilance Records showcasing his own take on house, deep house, and minimal territories. Having closed 2020 with fresh music on his own RAWMoments imprint, late-April welcomes the arrival of his biggest project to date as he makes his label debut on London’s FUSE to deliver his eight-rack debut album, ‘Life In Pieces’.

A body of work rich in classy collaborations with artists such as Robert Owens, Alix Alvarez, Kiki & Mavi and slick solo production, ‘Life In Pieces’ delivers a blissful journey through Rocco’s rich sound palette, revealing the most in-depth project of his career while marking his long-awaited debut on FUSE in style.

Braulio Lam's Close-Up is a captivating soundscape that blurs the lines between music and photography.
Hailing from the border region between San Diego and Tijuana, Lam's inspiration stems from the vibrant cultural exchange and diverse musical traditions of the area. His creativity as a music producer and photographer converges seamlessly into this album, where he manipulates images and sounds, using light as a catalyst for his sonic experiments.
The album's eight tracks showcase Lam's eclectic sonic palette, ranging from electronica and dub techno to ambient and trip hop. The opening track, "Prologue," sets the stage with a haunting guitar echo and a spacious, downtempo beat. Angelic vocals float ethereal over the sonic backdrop, creating a sense of scenic grandeur. "Cinestill" immerses listeners in a sub-aquatic realm with its slow-pulsing beat and cavernous ambiance. "Buena Vista Social Dub" captivates with its sensual vocals, echoing drums, and hypnotic melody.
"Monika" evokes a sense of beachy tranquility with its electric guitar and ambient soundscapes, while "Mirror" transports listeners into an atmospheric swirl of broken beats and ambient textures. "Eastman" delves into the depths of dub techno, its hypnotic chords and airy soundscapes creating an otherworldly atmosphere. "Winter Light," showcases Lam's mastery of minimalism. Field recordings of natural sounds, sparse guitar plucks, and evocative imagery paint a stark but beautiful soundscape that lingers long after the music has faded. "Tiffen" closes the album on a serene note, its gentle island rhythms and floaty textures inviting listeners to relax and unwind.
Overall, Close-Up is a testament to Braulio Lam's boundless creativity and artistry. Its unique fusion of musical styles, experimental sonic textures, and evocative imagery makes it an immersive and captivating listening experience that transports listeners to a realm where the senses intertwine.

PATRICK HIGGINS is an American composer, guitarist, and producer from New York City, known for his work in experimental and contemporary classical music. Higgins plays guitar and composes in the band Zs, described by The New York Times as "one of the strongest avant-garde bands in New York." Heralded as a "formidable concert music composer" (Boston Globe) and "one of the most gifted guitarists working today" (The Quietus), Higgins has received attention for bridging traditions including baroque chamber music, contemporary noise, electronics and 20th century minimalism. His work has been performed in over 25 countries internationally, and he has composed works for some of the world's leading ensembles, ranging from chamber orchestra works, percussion cycles, and string quartets to smaller ensembles and soloists. He has scored works for television, museum exhibitions, and films both short-form and feature-length. Since 2013, he has operated Future-Past Studios, a recording studio in upstate NY.
He recently had a solo exhibition of artworks and sheet music, as well as two world premiers, at The Clark Museum in MA, USA. In 2019, he was a curator and headliner of the Le Guess Who festival in Holland. Higgins has performed and presented works at many of the world's largest festivals and venues across the past 12 years, including The Broad Museum (LA), The Warhol Museum, SF MOMA, Unsound Festival (Poland), Pioneer Works (NYC), Monom Berlin, Sony Ginza Park (Tokyo), ReWire (Holland), Cleveland MOCA, ICA Boston, Teatro Carignano (Torino IT), Sacrum Profanum (Kracow), Merriweather Post Pavillion, Donau Festival (Austria), Paula Cooper Gallery (NYC), Club Unit (Tokyo), Shakespeare Theater (Gdansk), The Netherlands Philharmonic Orchestra and many more.

Limited edition "Coke Bottle Cloud" color vinyl with etched b-side. Australian duo Armlock make music for having your head in the clouds. On new album Seashell Angel Lucky Charm, Simon Lam and Hamish Mitchell bring you on a steady ascension through compressed and heavenly sonic realms. The band's second proper release, and first for Run For Cover Records, showcases the songwriters' experimental electronic roots through an indie rock lens. Free from distortion or overindulgence, Seashell Angel Lucky Charm is a collection of consistent rhythms decorated with clean guitar tones and eccentricities. Through playful layers of vocal harmony and minimal arrangements, Armlock capture the inventive and uncomplicated essence of Pinback or Alex G. Self-described as "indie rock with a touch of spirituality and emo", Armlock's journey into a higher realm is seeped with the looming confusion that comes with exploring the unknown. With an introverted demeanor, Armlock explores the human desire to find guidance in a world much bigger than its people. Every sound on Seashell Angel Lucky Charm feels precise and intentional, making the anthemic choruses on tracks like "Fear" and "El Oh Ve Ee'' feel expertly placed and pop-oriented. These two songs show Armlock's savvy with harmony as they use octaves of angelic sounds to stretch a simple one-word chorus until it soars with meaning. Unlike most indie rockers, Armlock use guitar as a tool in their belt rather than a vessel for songwriting. Where their 2021 EP Trust set foundations in downtempo acoustic guitar, Lam and Mitchell's evolved songwriting is a testament to where an electric guitar can amplify a song's groove, or usher in sonic space.

Brandon Tani is a multidisciplinary artist based in San Diego, CA. He is drawn to the varied intersections of minimalist, concrète, and found sounds. Mixing narrative and abstraction. Since 2022, Brandon has released music under the moniker "Daily Rituals" and has recorded 5 releases to date. This new album represents the first release under his own name.

Veiga lands straight on the dancefloor, no ambiguity about it. Spurred by the guys from RS Produções, he's been honing his DJ skills since he was 17 (currently 23), initially with partner Nunocoox, who gave him even more motivation. Production came naturally sometime in 2020. We venture: maybe one of the good things coming out of the lockdown? Summer of '22, his debut at Musicbox (at the Príncipe monthly residency) is recorded as a festive, lively set, punctuated by the kind of crowd shouts only heard when things go really happy and sweaty. Since then, Veiga's name has been spotted regularly in the afro club scene, growing in reputation

This side of kuduro, "Leandro" is as expressive as it gets, with percussive forces pulling in deceitfully different directions, much in the same style as the slower form of tarraxo. But we can call this house, yeah? No niceties, however: little over 3 minutes and the track abruptly cuts into silence, exuding the raw power of something made for the mix, not in the least "for the people". In a similar pragmatic mode, the stabs in "Sem Nome" get the party started unannounced. Full mode, for the duration. Minimal groove, broken beats and emotive highlights. "Boiler Room" may be wishful thinking, an interpretation of what is required to rock the place or, ultimately, just a title to wrap up the project. In any case, here's a feisty vocal-and-whistle driven stormer, building up to perfection over three and a half minutes. All elements exactly where they belong. Relentless pace in "X de Destroi", a dark side operation, unreal ambiance, breakneck beats, a purgation?

The title "Tudo É No Guetto" contains all the necessary theory. Everything happens in the ghetto. This uplifting house slab celebrates life as it is, freezing hardships for a moment, the ghetto seen as welcoming, a natural place to be. Vocals stashed away in his cell phone come from the animação crew Os Twinni (he joined them for a while). Clipped, repeated and manipulated to convey the very simple feeling of good times. Veiga himself talks about growing up with minimum resources but still happy. That is the memory he retains from being a kid in the ghettos of Amadora, just outside of Lisbon, born to a Cape Verdean father and Portuguese mother. Though the music sounds carefree and the message is chilled, let us not be tempted to rebrand Reality.

Pledging to Keep It Alive with her debut album in 2022 (In The Red), Liz Lamere doubles down with her latest full-length second album, One Never Knows, released on In The Red. Dedicated to her late partner Alan Vega, with whom she collaborated on his solo works for over three decades, Lamere’s minimalist approach to creating music is clearly in line with the Vega aesthetic that she helped develop with him during countless experimental hours in the studio since the late ’80s. Lamere teamed up again with her and Vega’s son Dante Vega Lamere in their Dujang Prang NYC home studio surrounded by the Suicide singer’s spectacular light sculptures, co-producer Jared Artaud, and mixing and mastering engineers Ted Young and Josh Bonati. Vega had always encouraged Lamere to create her own music. After he passed away, she began writing as a form of catharsis which became the inspirational bedrock for her solo music. Lamere said, “At the end of Alan’s life, he was using the expression ‘one never knows’ to underscore that we don’t know how much time we have in this realm or where this journey will lead us. It was a phrase that had resonated so much for me. Alan taught me to go bravely into the unknown; to be fully present in the moment and deeply explore what is already here.”

Black/White Split Colour Vinyl. Recorded in a little bedroom studio out in Durham, North Carolina, Amelia Meath and Nick Sanborn's debut LP as Sylvan Esso arrived in 2014 at the juncture of pop and experimental. Even now, years later, the LP remains an urgent and fitting introduction to a push-and-pull that would go on to inform the duo's sound - a thoughtful headiness that also wants you to get out on the dance floor. A blend of analog and digital, Meath and Sanborn were two unexpected puzzle pieces fitting together with singular ease, producing a ten-track LP that was both minimalist and shimmering, with dark undulations rippling beneath the synthy-surface and crystalline quality of Meath's voice. Before all of the international touring and festival headlining and critical acclaim and Grammy nominations, Sylvan Esso was just a shot-in-the dark of musical chemistry gone right. The original album bio for the self-titled presciently sets the stage for the thesis that has gone on to guide Meath and Sanborn's writing since then: "a collection of vivid addictions concerning suffering and love, darkness and deliverance" arriving as "a necessary pop balm, an album stuffed with songs that don't suffer the longstanding complications of that term." And so, even as the band continues to evolve and becomes amorphous, there's still that argument about what pop can be at its core. This is just the beginning of that conversation captured on tape. In honor of the record's ten year anniversary, North Carolina-based indie label Psychic Hotline will release a deluxe reissue, complete with previously unreleased material. Featuring essential singles "Coffee", "Hey Mami," and "H.S.K.T.", the expanded edition also includes remixes from J Rocc, Rick Wade, Helado Negro, Dntel, and more. The deluxe 2LP package sports an all-over foil inversion of the original album's iconic foil "SE" logo.

Steve Reich remains one of the most important figures in 20th century music. As part of the so-called "Big Four" of New York minimalists (along with La Monte Young, Terry Riley and Philip Glass), Reich influenced both the classical world and contemporary pop music.





Back in print ! Steve Reich remains one of the most important figures in 20th century music. Though he studied at the prestigious arts institutions Julliard and Mills College, by the mid-1960s Reich set about dismantling the very orthodoxy that he had been trained in. Forming a new musical language based on repetitive processes, Reich became established as part of the so-called "Big Four" of New York minimalists (along with La Monte Young, Terry Riley and Philip Glass). Reich's influence can easily be seen today in both the classical world and contemporary pop music."Four Organs" is the ultimate minimalist composition. Performed by Reich, Glass, Art Murphy and Steve Chambers, four identical Farfisa organs strike a single chord and gradually lengthen each note to produce polyrhythms between the players. Anchored by Jon Gibson's stoically-steady pulse on maracas, the piece deconstructs its opening burst to a sustained mass of sound – stretching the tones to create (in Reich's words) "slow-motion music."

Inspired by Reich's early training on drums, "Phase Patterns" treats the keyboards like tuned percussion instruments: a basic rhythm pattern is played in unison and almost imperceptibly increases tempo to move out-of-sync. Each progressive cycle emphasizes unique figures that are not generated by an individual alone, but rather emerge from the communal expression of the group. Originally released on Shandar in 1971, Four Organs / Phase Patterns is one of the most highly regarded avant-garde recordings of the past 50 years. This first-time vinyl reissue features cover photography by artist Michael Snow and is recommended for fans of Neu!, Glenn Branca and Tim Hecker.

Repress!

RYUICHI SAKAMOTO'S 1985 ELECTRONIC AND AMBIENT CLASSIC RELEASED OUTSIDE OF JAPAN FOR THE FIRST TIME SINCE ITS ORIGINAL RELEASE WITH NEW LINER NOTES BY ANDY BETA AND AUDIO REMASTERED BY SEIGEN ONO

Wewantsounds continues their Ryuichi Sakamoto reissue series with the release of the 1985 album "Esperanto", composed for a performance by New York avant garde choreographer Molissa Fenley. Produced and performed by Sakamoto with contribution by Arto Lindsay and Japanese percussionist Yas-Kaz, "Esperanto" is a fascinating instrumental work mixing electronica, ambient and synth pop. Released in Japan in 1985 on Midi Inc.s' School label, the album has never been released outside of Japan until now. This special reissue comes with original artwork including a 2 pages insert with a new introduction by Journalist Andy Beta. The audio has been remastered in Tokyo by Seigen Ono.
"Esperanto" originally came out in 1985 and was Ryuichi Sakamoto's sixth solo album. Coming after his stint with the influential Yellow Magic Orchestra, and also the worldwide success of Sakamoto's 1984 soundtrack for the film "Merry Christmas Mr. Lawrence" (in which he starred alongside David Bowie), "Esperanto" was a return to Sakamoto's leftfield roots.
?Composed as the soundtrack to a performance by New York choreographer Molissa Fenley (a show commissioned by Japanese producer Shozo Tsurumoto), the album was masterminded by Sakamoto with the help of the cutting-edge electronic technology of the time (the only external contributions are by Arto Lindsay on guitar and Japanese composer Yas-Kaz on percussion).
?Indeed, the album is a fascinating soundscape experimenting with the new sampler technology - which, according to Ryuichi Sakamoto from a conversation with journalist Andy Beta mentioned in the liner notes, needed a computer that was huge at the time.
?Esperanto is composed of eight tracks displaying a varied mix of influences. "A Wongga Dance Song" is pulsating with rhythms while "A Rain Song" adopts a minimalist mode with its distinctive
repetitive pattern. "Dolphins" and "A Carved Stone" are captivating ambient pieces showcasing Sakamoto's talent for setting beautiful abstract melodic ornaments over atmospheric tones.
?One of the highlights of the album is "Adelic Penguins", a fascinating proto techno piece with a funky twist stretching over six minutes which echoes the electro funk of 1981's album "Hidari Ude No Yume." "Ulu Watu", a collage-like piece featuring bird motives and a tropical soundscape closes the album with an experimental note. It's interesting to note that, a year later, the tracks from "Esperanto" would be turned into an experimental video project by New York visual artists Kit Fitzgerald and Nam June Paik collaborator Paul Garrin.
?A unique album in Ryuichi Sakamoto's rich discography, "Esperanto" is a groundbreaking work worth rediscovering in its full glory.

Facta returns home to his own Wisdom Teeth imprint with ‘So is the sun’ - a bold EP of artful club reductions that distill his unique and playful approach into some of his most assured and direct works to date. As ever with Facta’s output, there is a moreish push-pull between functionality and creativity on display here. Infectious hooks are sculpted out of warping, plasticine sounds, whilst melodic splashes of colour are painted in broad, bright brushstrokes. Bleeping FM synths fizz into shot before oozing out of frame again, dripping splashes of neon colour over the record’s skipping, nimble rhythms as they go. There are a few key reference points at play here - in particular the light-footed grooves of early 00’s minimal house and the space-age synths of artists like DBX and S-Max - but these influences are totally refracted and subverted to create something fresh, contemporary and of its own. Produced and honed across a year, the tracks took shape slowly alongside regular club play from the label crew and a clutch of trusted DJs who road tested the tunes at various demo stages. The result is one of Facta’s most decisive and focused club records so far. The EP marks the Londoner’s first solo outing in over a year, following on from his acclaimed 2023 EP, ‘Emeline’, which was released on Anthony Naples and DJ’J’s Incienso imprint. It forms part of Wisdom Teeth’s busy schedule of 10 year celebrations, which includes a string of releases from new and existing label members, merch drops, and a global run of live showcase events.

"PNKSLM Recordings proudly present ""Normal Song / Daybreak” from rising stars of the Swedish indie scene 7ebra. The twin sisters' first new material since releasing their critically acclaimed debut album ""Bird Hour"" in 2023. In a natural continuation thematically from ""Bird Hour"", the new release sees the duo not only embracing their melancholy, but celebrating it.

7ebra are 27-year-old twin sisters from Malmö Sweden, who grew up playing music together. Inez plays electric guitar and sings, Ella plays a keyboard, organ and Mellotron - whilst manually playing drum samples with her feet - as they both sing haunting harmonies in a way that only twins can. Beautiful but punk, minimalist but epic."

"For A Fleeting Moment" is the result of the dialogue between the Swiss photographer Simone Kappeler and the Japanese musician Tomotsugu Nakamura initiated by IIKKI, between March 2023 and May 2024.

Tomotsugu Nakamura is a musician and graphic designer residing in Tokyo, Japan. His primary artistic practice is to compose music with some fragments of minimal acoustic and electronic tones and some field recordings. In Concert, he he has played with various genre of musicians and his works have been released by Kaico, Audiobulb Records, and more recently by the French label LAAPS.

Born in 1952 in Frauenfeld (Switzerland) where she lives and works, Simone Kappeler started taking pictures at the age of 11. After studying German literature and art history, she studied photography at the Zurich University of the Arts. During a three-month trip to the United States in 1981, she took her first pictures using cheap cameras, especially the Diana camera.
Hasselblad, Leica, Diana, Brownie, Polaroid, disposable camera, expired or infrared films, since 1970, Simone Kappeler has explored all types of photographic techniques. Her work, experimental and poetic, reveals to us the curiously foreign world that surrounds us.
Since 1982, ongoing projects in southern France and the Grisons.1982/83, studio in New York, conceptual photography and Super 8 films. 1983/84, theater photographer, Schauspielhaus Zürich. 2009, six-week photographic study of Japan, 2015 studio in New York. Her work was the subject of a first monograph: "Seile. Fluss. Nacht. Fotografien 1964–2011", edited by Hatje Cantz and is regularly exhibited in Galleries and Museum in Europe and United States.
For A Fleeting Moment is her first book gathered exclusively a part of her wide polaroid works from 2011 to 2023.

Fine Art Book, Ltd. to 700 copies:
Hardcover book printed on Glossy Modern Paper 170g/m2 // 104 pages, 19cm x 22.5cm, 66 photos // Front cover points and back cover logo embossed // Selective UV varnish // Hand-numbered.

alphacut sets off into brushy tribal jungle

the early 2010s have been a prosperous era for a lotta fast dance and bass music. dubstep's magic was fading due to brosounds taking over but the idea of some fresh air inbetween drums and basslines was thankfully carried on into the jungles too. not only halftime but also tribal beats grew strong, whether it being in warm dubby or cold darker reincarnations.
speaking of living on, this plate is not only a sequel to that era but also a tribute to the one like morphy, who brought dubby tribal brushy jungle onto alphacut around that time. it light up a spark to head for new territories, its soul is vibing on in 45seven and especially in this new alphacut - post morphem!

rude operator are opening with a minimal dancehall feel, wriggling from 8bar to 8bar, switching tensions with patterns with a slice of footwork dna inside - zero chances to freeze!
rainforest is stepping on with enlightening skanks and mystic basses under a riddim one simply can't escape as well.
paradox effects is not only flipping sides but vibes pretty much too. keeping it tribal and one-seventy but much darker with an amen from the vaults in a bunker-conrete jungle - the raw and free sound of leipzig.
dreadmaul is closing with a masterpiece which could have been executed by the homaged dubbing don himself. moody pads meet distant dub sirens and robotic amen leftovers step up into a hypnotising groove, taking you back down in the woods.

we are happy to be back with a solid round-up package which should never leave your tribal crates again, zooom!

This is a truly gem for darkwave collectors. Noah Renolds is the Australian behind Second Sight, a hidden project reminiscent of // Tense // , Valis or Ortrotasce. Pulsating beats, a peculiar use of short samples á la Wax Trax and amazing minimal synth compositions makes the perfect combo. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid RED vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Joe Hisaishi, Komponist des Studio-Ghibli-Sounds, veröffentlicht zwei großformatige symphonische Werke Die Weltersteinspielungen mit den Wiener Symphonikern, aufgenommen im legendären Musikverein, werde von Hisaishi selbst dirigiert. Seine minimalistische Symphonie Nr. 2 nutzt subtile Repetition, doch stark Kontraste in Rhythmus und Orchestertextur variieren die drei Sätze des Werks. Sein Bratschenkonzer ”Viola Saga” hingegen ist Musik der wechselnden Stimmungen und überaus anspruchsvoll, wie geschaffe für den herausragenden französischen Bratschisten Antoine Tamestit. »Tatsächlich wünsche ich mir, das meine Musik ebenso natürlich klingt, wie Wolken sich formen oder Jahresringe eines Baumes organisc wachsen«, sagt Hisaishi. Originalität, Vielseitigkeit, feinstes musikalisches Handwerk und hohe Sensibilitä kommen in den neuen Klangschöpfungen zum Ausdruck. Nach seinem äußerst erfolgreichen Debüt be Deutsche Grammophon mit symphonischen Arrangements von Soundtracks stellt sein zweites Album beim Gelblabel Hisaishi als Komponisten mondialer klassischer Musik fürs Konzerthaus vor.

From the deep confines of the universe, we receive emissions of HC Records’ 21st release - Those Dark Whims by UHF, the production duo and Gladio Operations label heads José Castillo and David Aragón. An exciting digital LP from which a selection of tracks have been extracted for vinyl along with remixes by two label regulars, Estrato Aurora and The Lost Boys.

Skynet Was Shy opens both the LP and the vinyl, a hypnotic starting point in which the most vibrant and crystalline electro fuses with acid sequences to generate a state of pure trance, complimented and driven by spiralling sequences and mantra-like vocals. The second track on the LP and A2 on the vinyl is The Lost Boys' remix of Skynet Was Shy. A rough and sharp reinterpretation where the use of 303 sequences continues but focuses on more of a physical than a mental dance.

Hanging Baskets reactivates the state of infinite mental suspension that underlies this powerful and bold composition with deft and minimalistic use of elements: sharp broken rhythms, a dense melodic environment but with occasional moments of pure light and a new vocal message that ignites in our minds.

The B-side kicks off with Estrato Aurora's remix of Day Dream, which as usual in the work of the acclaimed Valencian producer, extends the original version to 8 minutes, giving it an unusual emotionality created by an amalgam of sound textures that interweave multiple pads, mutant melodies and pulsating percussion. Closing the vinyl, UHF's machines join forces with the lyrics of another electro heavyweight in Protestas En Las Redes Feat. Dark Vektor, a combative discourse in which the powerful and robotic vocal message of the Terrassan producer ascend alongside the futuristic melodies, extra-dimensional violins, spatial arpeggios, and metallic rhythms of the Madrid duo.

Another Interplanetary STAR CREATURE team up for a Chicago Tokyo expedition across a soundscape ranging from bossa nova lounge to pre-vaporwave exotica; new age city pop to minimal library boogie. JUNE CHIKUMA is best known now for her ground breaking Video Game soundtracks throughout the late 1980s and early 90s, most notably the now cult-classic status Bomberman Hero OST for Nintendo. During this same period she produced many recordings for a wide variety of clients including Japanese Public Transit Commercials, Video Game Arcades and VHS Nature Documentaries. STAR CREATURES combed her archives and selected a nice mix of tracks as entry point into her work. These tracks have been rescued from obscurity, remastered and waxed up for contemporary universal enjoyment. 500 Copies. Pressed in Detroit.

"The wash of flangers & shimmery reverb have been the foundation in Cali psych ever since the Byrds went electric. And while that sound might've dropped off occasionally, it never dropped out. The Velvets minimalist stylings were infused into the mix by The Dream Syndicate in the early 80's & thus a game changer was born. Clay Allison, Opal, Green On Red all took their charge from that current. Then the Shoegaze scene of the 90's looked at those bands as vectors, things got a little more drenched, so yet more seeds were sown into the fertile terroir. Cut to current climes & the bay area is teeming with the latest iterations: Children Maybe Later, Now, & Cindy easily come to mind. But curiously the band most steeped in the mohair constitution is April Magazine, who (thus far) have been content in the shadows. Up till now they've seemed like characters plucked out of a Kazuo Ishiguo novel-mysterious & ethereal-but perhaps this pressing of last year's cassette only release will flush them out. 'Wesley's Convertible Tape For The South' shows the band defly balancing all those that have come before them while also incorporating flourishes of Les Rallizes DeNudes, Hallelujahs & Nagisa Ni Te into the pageantry . So in a way, April Magazine is transforming the landscape yet again; denser, fuzzier, lush & wistfully challenging. 'Wesley's Convertible Tape For The South' is the band's 1st vinyl release stateside (an LP of older tracks was released last year via a UK only label) so no import tariffs! What were once whispers are now proclamations. Just because you don't know them doesn't mean you can't love them. So grab a copy & hug it out amongst yourselves." -- Tom Lax (Siltbreeze Records)