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Orions Belte has been a steady supplier of groovy, catchy and dreamy instrumental pop since their 2018 debut album Mint. Women is their third studio album, but that doesn’t tell the whole truth when you also count their two live albums with accompanying films, three EP’s and a huge project where each of the members released their own solo album under the Orions Belte moniker. The three musicians rarely sit still, and the inspiration seems to be endless. This is probably also why their music is in such high demand. As usual, all the songwriting and production is done by the band members themselves, and this time they have put a lot of effort into making everything bigger and more powerful than on the previous records. The string arrangements flow easily throughout the record. It almost feels like releasing a million balloons all at once while lying looking at the night sky and dreaming of road trips on bumpy country roads through the Amazon in Brazil. There is always a great span to the Norwegian trio's songs, and on Women we are served noisy guitar riffs on "Silhouettes", cinematic string arrangements on "I Will Always Miss You", irresistible and catchy summer vibes on "Jai Alai", while Louien (Live Solberg) contributes beautiful vocals on the almost mournful "When You're Gone, I'll Be Gone". Matias Tellez is – as expected of an Orions Belte release – involved in the mix, while Ola Kvernberg and Øyvind Torvund have written string arrangements.

Wewantsounds is delighted to reissue 'Khalik Hena' recorded 1973 by legendary Arabic Diva Warda who has been sampled by J Dilla. The album recorded in public mixes traditional Arabic music with a tinge of 70s grooves. Here Warda delivers a hypnotic performance backed by her full-size orchestra featuring those unparalleled Arabic strings that made recordings by Oum Khalthoum, Farid El Atrache and Abdel Halim Hafez so famous. 'Khalik Hena' is one of her all-time classics, written by equally legendary composer Baligh Hamdi and the audio has been newly remastered. This release features the LP original artwork with a 2 page insert featuring a new introduction by Mario Choueiry from Institut du Monde Arabe who curates Wewantsounds' Arabic series of reissues.

Wewantsounds is delighted to announce the reissue of Omar Khorshid's highly sought after instrumental album 'Giant + Guitar' originally released in 1974 in Lebanon and recorded at Polysound Studio by famed Lebanese engineer Nabil Moumtaz. The album features Khorshid's unique electric guitar sound mixed with arabic melodies over superb psych arrangements. The album has been newly remastered and comes with the original 'Voice of Lebanon' artwork and a 2 page insert featuring liner notes (Eng/Fr) by Lebanese DJ and curator Ernesto Chahoud.

The Tables was an underground/DIY pop group formed in Oslo, Norway, in 1987, by Bartleby
(vocals), Robert Birdeye (bass guitar and drums) and Reg Trademark (guitar). Holiday at Wobbledef
Grunch was their second full length album originally released in 1997 and quickly became a cult
classic within the norwegian underground scene. The music of The Tables is a mixture of psychedelic
pop inspired by English groups of the 1960s (especially the music represented on the Rubble
compilation series on Bam-Caruso Records) and early indie pop à la Television Personalities.

Along with Aunt Mary, Junipher Greene and Terje Rypdal, Saft were also a well known group who
were part of the growing norwegian music scene in the end of the 60s and the beginning of the 70s.
Their rare debut album, released in 1971 on Polydor, is a great mixture of beatlesque songs,
garnished with some progressive pieces and touches of folk. You really can feel the enthusiasm of the
band to create a long lasting experience for their listeners throughout the entire album... and they did a
great job because every track is a brilliant musical journey on its own.

Very limited stock available on these. Picture Disc Vinyl Packaging: 2xLP zoetrope (animated) picture discs, 24x36 foldout poster in custom silkscreen PVC gatefold sleeve + download card. On their fifth album, Infinite Granite, Deafheaven are no longer toying with the juxtaposition of pitting metallic abrasion against swirling grandeur. Quite the opposite: Infinite Granite is a bold and brave leap forward, a gorgeous and invigorating album brimming with style and splendor. In the context of their catalog, it takes on a whole other layer of defiant beauty. Across Infinite Granite, vocalist George Clarke showcases a startling vocal range; falsettos, whispers, multi-part harmonies, and other adventurous vocal treatments, with his trademark black metal-inspired howls mostly absent. Guitarists Kerry McCoy and Shiv Mehra expand their sonic palette to include synth textures using them to enrich their astral guitar work rather than outright replace it. Drummer Daniel Tracy has always been a force to reckon with behind the kit, but where he used to floor audiences with his speed and stamina, he’s now free to broaden his approach and lay down authoritative drum patterns that together with bassist Christopher Johnson’s punchy bass lines anchor the band’s lofty arrangements. The refinement of their sound was further encouraged by producer Justin Meldal-Johnsen, who lent a pop ear to the record. Jack Shirley, who helped produce every previous Deafheaven album, remained on board to engineer the album along with additional engineering and mixing from nine-time Grammy Award winner Darrell Thorp. Ultimately, Infinite Granite is Deafheaven’s most goosebump-inducing album to date. Highlights: Follow up to 2018’s grammy nominated album Ordinary Corrupt Human Love and first full-length release with Sargent House. Deafheaven named ‘Artist of the Decade’ by Vice, along with albums featured in ‘Best of 2010s’ lists on Pitchfork, Rolling Stone, Metacritic, AV Club and many more. Three previous albums Sunbather, New Bermuda and Ordinary Corrupt Human Love have received incredible praise from press and named ‘Best New Music’ by Pitchfork. Deafheaven have scanned over 160k albums and streamed over 30 million tracks in the US alone.

Dutch four-piece Lewsberg are set to release their fourth studio album, Out And About, in October 2023.
Recorded by Yulya Divakova at Schenk Studio in 2023. Mixed by Yulya Divakova and Michiel Klein. Mastered by Timothy Stollenwerk. Lewsberg are Shalita Dietrich (bass guitar, vocals), Michiel Klein (guitar, keys), Marrit Meinema (drums, vocals) and Arie van Vliet (guitar, violin, vocals).

Brutter continue with their deep dives into the endless possibilities of beat music. The duo has a gravitation towards headstrong bass drums and pulsating patterns that contain remnants of everything from dub to disco, from hip-hop to mechanical workshop. On their fourth album 'Outta', Brutter steps out of their good dogmatic rhythm skin and brings strings into the mix. Auto-harp and lap steel guitar contribute twisted sweet tones and floating comments to everything that otherwise thumps and beats. 'Outta' gives a precise sound picture of where Brutter has ended up after 10 years of digging for rare beat metal. Brutter is the duo consisting of Norwegian brothers Christian and Fredrik Wallumrød, founded in 2012. Christian Wallumrød is a well renown pianist and composer, releasing music since 1996 on labels like ECM Records, Jazzland and Hubro. Fredrik Wallumrød was educated at the Trondheim Music Conservatory, same as his brother, with focus on drums and jazz as a genre. He has later changed his course for rock/metal and more pop-oriented music, such as Span / El Caco / Dog Almighty, in addition to his work with singer/songwriter Susanna and soul / r&b artist Jarle Bernhoft. Christian Wallumrød – drum machines, electronics, auto harp Fredrik Wallumrød – drums, drum synth, electronics, lap steel.

Eric Krasno is a two-time GRAMMY winning guitarist, musician and producer best known for his work with Soulive, Lettuce, Tedeschi Trucks Band & Pretty Lights. Krasno has been nominated for a GRAMMY a total of seven times for Best Blues Album, Best Contemporary Blues, Best R&B, and Best Electronic Album.

Otis McDonald is a producer/multi-instrumentalist best known for his copyright free music released exclusively through the YouTube audio library, amassing over 5 million downloads and over 25 million streams.

Mike Chiavaro is a Brooklyn based electric and upright bass player with an impressive history.

Combined they form King Canyon, blending their unique styles into an infectious groove filled project with healthy doses of R&B/Soul and funk. The vibe will resonate with fans of Khruangbin, Bobby Caldwell, Allman Brothers, Soulive, Lettuce, El Michels Affair, Unknown Mortal Orchestra, Menahan Street Band, Durand Jones and the Indications, and Son Little (who's featured on one of the tracks).

In the perfect quarantine story the trio forged a relationship and has yet to meet in person. In April of 2020 in the midst of quarantine, Eric Krasno came across Otis McDonald’s music on Instagram and immediately became a fan. Months later, McDonald who had been working on music with his longtime friend, Mike Chiavaro, enlisted Krasno to add in some guitar to the mix and before they knew it, the trio had an album's worth of material and thus King Canyon was born.

The guys have still yet to meet in person, but despite this, the grooves are insatiable. The writing and feel are unlike any other projects these musicians have been involved with previously.

It is with great fanfare that we proudly announce the return of the esteemed improvisational chainsaw blues trio Young James Long. Young James Long formed in Dallas in 2003 with a weekly residency at a local (and appropriately named) dive bar called Muddy Waters. PW Long (guitar, vocals) and Kirkland James (guitar) had known each other socially since the 90s when Long was fronting Quarterstick Records’ Mule, and James was playing with Tenderloin. Long would go onto make a series of incredible solo records under his own name and that of PW Long’s Reelfoot and James would play with Alejandro Escovedo (among many others) before their paths finally crossed again. They recruited Taylor Young (Hi-Fi Drowning, Young Heart Attack, The Polyphonic Spree) on drums and a raw, blues-punk-rock-and-roll band emerged fully formed, songs flying out of them with enthusiasm and ease. They recorded the You Ain’t Know The Man EP with their friend (and eventual Grammy winner) Stuart Sikes not long after. The EP came out via Southern Records in 2007, and thanks to the tasteful ears of the people this side of the pond, a European tour followed. If you saw that tour, you’ll agree that it felt like the band were really hitting their stride. However, here we are in 2023, so what happened? Answer: geography - the age-old enemy of creativity. One member left Texas and the others (being the extremely able and skilled musicians that they are) were perpetually wooed away to play in other bands. Everyone’s got bills to pay, right? And with that, things just kind of fizzled out. Long even insists he quit playing music around 2010. One of the most recognisable voices in underground music: out of the game. Incredible. Inconceivable.
Then, last year we at Wrong Speed got an email asking if we’d be interested in some new music Young James Long had been working on. We thought it might be a joke. They sent some mixes through, and it became very quickly apparent that it was anything but. Turns out the trio had started chatting about music again in 2020 (before the world had other plans) and had finally made their first full-length album Orogeny in the summer of 2021. Orogeny sounds live and thrillingly immediate, as though all obstacles between their delivery and your ears have been removed and discarded as irrelevant. There is no filler, no treading of water at any point. Amps buzz, songs teeter on the edge of collapse, you feel like you’re sitting in the middle of the band as they play and it’s a pretty sweet place to be. The album contains a whopping 17 songs, most under 2 minutes long. They don’t want to waste your time, or most importantly (after sixteen years away), theirs. If you’re familiar with Long’s previous bands, you’ll know he has a rare gift for pairing extreme volume with extreme tenderness and it’s thrilling to find that gift present and correct after over a decade away. And that voice – holy shit, that voice. He can go from a Beefheart howl to the sweetest country baritone in the space of a single line. In James and Young he’s found the perfect foils, a power trio of instinctive and soulful musicians able to conjure shining gems of magic out of the grit and the dirt. Young James Long is risen from the ashes – it’s a miracle!

First released over 30 years ago, this EP is where The Future Sound Of London started before “Papua New Guinea” later in 1991. All four tracks were instrumental in establishing a new genre of electronica within dance music. They were ahead of their time and extremely progressive, and here three decades later they are making an impression. “Pulse State” has been described as the ‘best bleep track ever made’, and at the time dominated the airwaves on London pirate stations.

After whetting our appetites with the new italo "classic" Volevi Una Hit repress, Bottin and his Cristalli Liquidi project team up with the French-Italiano electro pair Deux Control (aka Justine Forever & Rodion) for a double take of this sweaty song about the colour red and the gentle carnal forces of nature. You might want to pick up some Italian to enjoy the lyrics. Along with two entirely different main versions, Bottin's sped-up dub and Deux Control's vocally sparse mix will serve electro-funk heads and low-cheese/high-energy italo lovers alike.

POH (Point of Hue): It’s all about colors. Closet Yi sees the world in vibrant hues, as a sonic exploration of her kaleidoscopic vision. Seeing herself as more of an observer than a doer, she testifies her unique perspectives of the world in each track with all different hues and emotions.

Instinctively catchy and affecting, the four track dance EP is full of intricate textures, unexpected harmonies, and subtle sonic flourishes that reveal themselves with each listen. Written and mixed in her hometown, Seoul, the infectious EP is a collective of warm, floating yellow purple molecules in the air with introspective shades of cobalt and sage.

As much as she has a wide spectrum of taste, Closet Yi cements her core to its place where the most exciting and new coming artists are now.

Patagonia Wave series is back on the beloved Orange Wedge imprint. From the glorious collaboration of Joey Beltram, Lenny Dee and Ralphie Dee this is a masterpiece to have in your collection.

Tibi Dabo returns with ‘Overture’, a from his forthcoming Crosstown Rebels album, with remixes from Map.ache and Aline Umber.

A label favourite having dropped his ‘Isla’ EP on Crosstown Rebels back in 2022, ahead of his much-anticipated debut LP comes this third superb taster from it. The superb ‘Overture’ is an eight-minute gem with super smooth percussion and elastic grooves, with wispy sci-fi chords and gentle synth modulations. It’s full of future feels and catchy drum funk that is sophisticated and smartly detailed with chopped-up vocal fragments.

First to remix is Liepzig’s Map.ache, co-founder of Kann Records and half of Manamana. His take builds with fatter drums that are just as infectious, while rippling synth loops weave in and out as flashy basslines cut loose, and balmy pads add extra cosmic absence to a hypnotic mix of the heady and the physical.

Aline Umber, a collaborative live project from French composers, producers and DJs Aline Brooklyn and Aman Umber, are second to remix. They run the Airfunk label and are no stranger to playing cult spots like Rex Club in Paris. Their ‘23% Eventide’ mix is a blissed-out and synth-laced trip with subtle, smeared chords and starry-eyed keys that have you gazing off into the distance as you get lost in the warm drums.

Italian legend Walter Del Vecchio aka Quiroga pays tribute to the acid house era on Hell Yeah with a new package that comes with two originals, an ambient mix and a remix from cult hero DMX Krew.

Quiroga released his last sublime album Passages on this label and it came as the latest entry into a discography filled with beauty and detail. He is a talented musician from Naples who has his own left-of-centre take on the Mediterranean sounds of the city, as he shows once again here with a house-leaning outing.

Quiroga has teamed up with cult musician Dario Bassolino and called upon Whodamanny's mixing skills for these new tracks. First is 'Once Again', a punchy and chunky house cut with skewed bass spraying about the mix. Its rough analogue edges are lit up by searing acid lines that never quit and will turn any party into a cauldron of intensity. The Ambient Version is a full-flavour downtempo workout that keeps the wild acid lines, adds in some FX, old-school piano chords and a yelping female vocal next to a blissful breakdown. 'Once Again' (DMX Krew Remix) is then a bumping acid-electro monster with fat drums and the manic 303 offset by serene chord work to make for a perfectly emotional dance floor delight.

'Freak The Funk' is a second original cut, as rides of crisp snares and snapping drum breaks blend with a warm bassline and smeared cosmic chords up top. It's a classy peak-time house cut with magical pixelated synth melodies.

Alongside superb artwork from PlanetLuke, this is another essential package from Hell Yeah.


DJ Support:

Sean Johnston (ALFOS), Kristian (AME), Fango, Front De Cadeaux, Sinchi Collective, Phat Phil Cooper, Balearic Gabba Sound System

2026 Repress

Heavenly Recordings release the next two volumes in their series of remixed classics and unreleased versions. ‘Heavenly Remixes 7 & 8’ sees the label going back into the archive, as well as picking off some more recent remixes, and both albums primarily feature either previously unreleased versions or re-workings available for the first time on vinyl and CD.

Heavenly have always seen immense value in the remix, a value way beyond what it might bring commercially. Since their first release in 1990 (where Andrew Weatherall overhauled a one-off single by club kids Sly and Lovechild) Heavenly remixes have been carefully curated and treated as a key part of the A&R process. It’s an opportunity to view an artist through a different prism, to play out a musical ‘what if’ scenario. It’s the kind of exploration that’s happened consistently through the thirty plus years the label has released music.

The ‘Heavenly remixes’ series continues to showcase the very best remixes, versions, meditations, re-rubs and dubs from all around the world of artists right across the roster of the country’s most exciting record label. In most cases, the albums offer the first physical release for a remix, elevating them from streaming playlists to their rightful, spiritual home on super heavy vinyl (or shiny, super-packed compact disc).

Heavenly remixes 7’ heads to Belfast, where David Holmes - a producer who first appeared on Heavenly in 1994 amping up the acid on Saint Etienne’s ‘Like A Motorway’ - appears as solo artist and as one third of Unloved, who get a lift right to the heart of a Vauxhall sweatbox by Horse Meat Disco. It draws a line between Amsterdam and Frankfurt as Ludwig A.F. amps up the electronics on Pip Blom’s ‘Keep It Together’. It stops off in a south London studio where super producer Dan Carey plays the desk with Toy, then relocates LA psych rock band Fever The Ghost to an Ibizan shoreline as the sun sets on the horizon. It cements Sheffield’s reputation as the home of modern British techno with the return of true originators Forgemasters. And it pitches up in front of a renegade soundsystem late night at Glastonbury as Erol Alkan’s mighty rework of Con Man gets its third rewind of the night.



‘Heavenly remixes 8’ opens with Space Afrika’s lush, ambient reimagining of the Orielles’ ‘BEAM/S’ before Justin Robertson stretches Amber Arcades’ ‘Turning Light’ into eight minutes of electronic dub. Elsewhere, Baxter Dury’s peerless ‘Miami’ becomes a string-laden electro skank in the hands of French producer Pilooski; Edinburgh’s bedroom techno genius Eyes of Others’ ‘Safehouse’ turns into an East End bathhouse courtesy of disco deviants Decius; Ashley Beedle’s Black Science Orchestra turns Unloved’s heartworn torch song into seven minutes of glimmering dreamlike percussive house and Katy J. Pearson’s freak flag is flown high thanks to The Umlauts’ throbbing filtered electro mix. It ends similarly to how it began as TONE takes

Fran Lobo’s ‘All I Want’ on a gorgeous slow motion spacewalk.

EP opener ‘Scary Movies’, is a wickedly euphoric slice of driving techno that rushes the bassbins and dials up the serotonin levels to the max. A true mutant roller that’s guaranteed to drain the smoke machine dry. Following that is ‘Getting’ a snarling and unpredictable masterclass that traverses through jagged techno and twisted breaks. A proper hard working number, loaded with attitude and built specifically for all night sessions.

‘Esvedra’ kicks off the B-side and keeps things moving at a blistering pace. A laser-focussed club cut that is guaranteed to run amok through every space it graces. A razor sharp face melter stacked with hammering percussion and lethal drum work. Rounding off the release is Yushh’s brooding and expertly restructured remix of ‘Getting’. A heady cocktail of UK Bass in its most sinister form and a heavy dose of the more off-kilter and forward-thinking sounds coming out of not just Bristol but the UK as a whole. This is proper lights down and sound system up material at its finest.

‘Scary Movies’ unequivocally displays Dawn Razor’s skills as an increasingly confident producer and one of the most important artists emerging out of the Russian scene. While simultaneously showcasing Yushh’s inherent ability to think well outside of the box each and every time. Blue Vinyl Edition.

Lower-case and higher-vibes, loket is the saxophonic alias of Tahl Klainman, a versatile presence in Berlin’s alternative and underground scene, whose diverse productions have traversed ambient, trance, techno and jazz on labels such as Mama Told Ya, Hot Concept and Tax Free Records. More recently loket also guested on Massimiliano Pagliara’s LP ‘See You In Paradise’, which received the 2023 German Record Critics’ Award, as well as establishing Klainman as one of the few saxophonists to have jammed live to a peak-time Panorama Bar dancefloor.

Reigniting the languid futurism of trip-hop and downtempo, ‘All Ages’ ably delivers the most inclusive distillation of loket’s sound thus far, paying respect to the influences such as William Orbit and Moby, as well as fourth-world innovator Jon Hassell’s philosophy of blending traditional instrumentation with contemporary electronic experimentalism. Mixed in collaboration with Angus Finlayson, aka Minor Science, each of ‘All Ages’ four pieces transmit the wonder and free-spirited optimism reflected on photographer Jordan Kirk’s wide-eyed cover art.

Title track ‘All Ages’ prizes open a saxophonic wormhole to beckon an infectiously baggy groove, unexpectedly referencing the optimistic rhythm of acid-house inflected Madchester, only with gnarlier guitars to contrast a seriously insistent bassline. ‘Afternoon at Bärenquell’ boldly teases out sonic pleasure from even more idiosyncratic means, melding baroque strings and twinkling new-age melodies to loket’s emotive brass, culminating in a neo-classical finale that seems to suspend itself mid-air.

‘Sanders Groove’ sees loket’s sax step back on a bed of soft, jazz-inflected percussion and unpredictable electronics, melting as one into a slow-motion riff that’s equal parts indie jam and musique concrete. Finally, ‘Soft as Moonlight’ makes good on its romantic namesake with a swelling arrangement that free floats into deft percussion, dreaming and teeming with positive energy.

In spring 1994 Mouse on Mars contributed an exclusive piece to Sähkö Recordings’ ambient radio project, a one-week public radio program that was aired citywide in Helsinki, Finland. Andi Toma and Jan St. Werner recorded sounds in and around their studio in Düsseldorf Bilk to construct one continuous composition that spanned the course of one neighborhood walk. Midi-controlled synths, samplers, analogue effects, tape delays, effect pedals, guitars and a jew’s harp were juxtaposed with recordings captured during the walk. An additional microphone that pointed out of the studio window was occasionally dubbed into the mix. The resulting collage was broadcast just a few months before the group’s debut album Vulvaland came out and never aired again. 30 years into the band’s existence Andi Toma and Jan St. Werner revise the duo’s history by producing three LPs that would place the band’s discography under a slightly different light. Bilk marks the beginning of that investigation: a free-flowing assemblage of everything that vibrates and can be caught on tape. A 30 year old recording with subtle new edits and additions.

Recorded at the Academy of St. Martin in the Fields by Andi Toma and Jan St. Werner.
Artwork Soulis Moustakidis. Art Direction Rupert Smyth. Vinyl Master Cem Oral.

Since stepping onto the scene over a decade ago, Romanian producer Nu Zau has become a figurehead for the microhouse scene his homeland is synonymous with, racking up releases on the likes of the Italian Modbox helmed Castanea, Stockholm’s Sono Unica and Aurum, sub-label of the renowned white label Telum imprint. Here, we see Nu Zau joining the roster of Basel, Switzerland’s Adam’s Bite, home to material from the likes of Barac, Cristi Cons, Traumer and Ion Ludwig amongst others.

Leading the way on the package is ‘Feeling Alive’ a subtly unfurling journey that twists and turns through bouncy bass notes, an amalgamation of modulating synth flutters, hypnotic voices and crisp percussion. ‘Your Turn’ follows next and shifts gears towards squelchy acid bass, choppy stab sequences and ethereal pads, all underpinned by a crunchy, raw drum workout.

On the flip-side ‘Intense Jazzy’, as the name would suggest leans into a more organic feel with a snaking bass line, a shuffled jazz-tinged rhythm and a murky underlying tension perfectly crafted for dark, smoky rooms. ‘The Light We Carry’ then rounds out the release, bringing swirling resonant synth textures and robotic voices into the mix alongside a swaying sub bass groove and low-slung drums

Renowned Frankfurt favourite Reboot steps up to plate for Snatch! Raw, letting loose three hypnotic hits of groove-heavy firepower in signature style.

Foliage Records introduces Volume 2 of the new 12” Sampler Series.
Volume 2 offers four stunning cuts from the Foliage Records back catalogue for the first time on vinyl. The A side of the sampler features Jimpsters bumping Deep House rework of South African electronic producer, Thakzin and songstress Ray T’s ‘Don’t Let Me See’. Fresh from remixing Solomun, Kerri Chandler & Joey Negro, Jimpster picks up the pace, adds layers of Afro inspired percussion and creates an ethereal effect on the vocals, resulting in a club ready classic. Side A also features the stunning ‘Addicted’ by Richard Earnshaw & Kholi, a Deep House, bass heavy groover.


The B side of the sampler has the Afro anthem ‘Unification Vibration’, remixed by legendary producer Atjazz. A prolific remixer with a career spanning 20 years, Atjazz has worked with the likes of Bob Sinclar, Gilles Peterson & Jazzanova. The track is an ode to coming together in ‘our house, our only home’. The B side also contains the heavy talents of Turbojazz & Sean McCabe with their deep & dope remix of Diephuis feat. Ursula Rucker – Listen To This Drum. This remix takes things down a deeper path to the original, with a focus on the bassline and extra percussion.

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.

After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.

"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".

With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.

For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.

"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"

SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.

It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.

"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"

His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).

“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."

Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.

Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.

Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.

A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.

Make sure to catch Kid Francescoli on his next world tour to have a good time.

Produced by The Charlatans and Jim Spencer and mixed by Craig Silvey (Arcade Fire, Portishead), "Modern Nature" is the band's 12th studio album. Released in 2015, the album features a plethora of contributors, from drummers Pete Salisbury (The Verve), Stephen Morris (New Order) and Gabriel Gurnsey (Factory Floor) to Kate Bush's backup singers Melanie Marshall and Sandra Marvin to Sean O'Hagan's strings and Jim Paterson's horns. The album, described by Q as "one of the best of her career," debuted in the Top 10 of the UK Albums Chart. Pressed on clear yellow vinyl.

Loud & Clear / N.O.R.E (Buttas Remix) b/w Cherry Blossoms (Love Notes Mix) by Strictlybutters | Galaxy Sound Co. – GSC 45-038 | Summer time vibes are here & @galaxy_sound_company is back at it with another sure-shot #hiphop donut via @strictlybutters. I got my hands on an advance copy of a limited-run test pressing & it is cut loud! Ya know ya will be boomin’ in ya, boomin’ in ya, boomin’ this in ya jeep!

Galaxy Sound Co. started taking these occasional fire #hiphopinstrumental interlude breaks from their 45 edit series to shine light on the Michigan skateboarder, cyclist, sneaker-head & bedroom b-boy beat maker Strictlybutters. With the 38th donut in the GSC 45 series, he is making his 3rd appearance on the label & it is another banger.

Side A1’s “Loud & Clear” is a straight-up, warm-up boom-bap banger. It effortlessly, teases along by MC royalty with a sweet soulful piano riff rolling along MPC delights. A joyful crowd is weaved through a familiar GWJ break calling you do get up & get down. A2’s “N.O.R.E. (Buttas Remix)” teases with a buttery-soul laced rework of with a snippet from Noreaga’s “SuperThug”. The only fault here being SB only gives us a taste at just over a minute long. More please.

Side B’s “Cherry Blossoms (Love Notes Mix)” is a killer joint in the vein of 90s hip-hop love jams, with the core sample being one of my fav sweet soul songs from Detroit, 1969’s “Maybe So Maybe No” by the New Holidays (Soulhawk Records 1008). SB lets this beat breathe to perfection, rolling fa-la-la-la’s that slide into a sexy outro.

repress

The 7-inch edition of the Ep includes 2 songs and 2 scratch cuts made with vinyl samples, akai mpc 1000 and synthesizers.

Written & produced by Dj RosviL for Remedy Music 2021.
Mix & mastering by Jorge Alamar.
Design by Noema aka Gogals illustration

Ben Sterling joins Damian Lazarus’ renowned Crosstown Rebels imprint, partnering with Caitlyn Scarlett for ‘Don’t Truss’.

Building on the release of arguably one of the tracks of 2022 with his remix of Tiga’s iconic ‘Mind Dimension 2’, UK hotshot and Planet X boss Ben Sterling has made 2023 another year of raising the levels, with his debut on Solomon’s Diynamic becoming an instant summer anthem in the midst of his busiest summer to date. Adding yet another huge label debut to the mix, he continues to showcase his range across house music as Damian Lazarus invites him to Crosstown Rebels for the first time, partnering with singer/songwriter Caitlyn Scarlett for ‘Don’t Truss’ on the revered imprint.

A rolling and crisp production with Scarlett’s alluring and hooky vocals at its core, it’s easy to see why ‘Don’t Truss’ has become a stand-out track from Sterling’s own sets across the globe over the past 12 months. Fusing tightly programmed percussion, warped murmurs, and a slinking, snaking groove, it’s a track crafted for the dancefloor, moving crowds unison and leaving a lasting impact. On the flip, ‘Bring Me To The Surface’ is a groove-led and bubbling cut that keeps the energy levels with skittering drums, acid-dipped basslines, resonant synths and yet more vibrant vocals.

TPG long term friend and homeboy Ben Oyefeso pulls out a trio of double-jointed cuts for the club and not, the German producer's debut EP ‘Lagerfeuer’ packs that left-of-centre house punch that’s come to define the label throughout the previous ten releases and certainly more than just that. Cutting his lane at the junction of oddball party music and deconstructionist boogie, Oyefeso’s maiden sortie floats like a butterfly and stings like a bee. A weird, buzzing slab of body-jacking electronics that doesn’t play by the book.

An off-road bouncer of a track, the opening number ‘Matt’ has us nodding our heads to a high-in-vitamin mix of jacking house programming and erratic acid patterns gone astray. Knee deep in 303-marinated puddles of psychedelic squelch, Oyefeso keeps swinging the pendulum between a proper syncopated 4x4 motif’d framework and frantic digressions into an abstract-leaning headspace.

A2 ‘Kool’ opts for a further sliced-and-diced rhythmic line of action, generously infused with twisted Rephlexian phrases and sustained waves of micro-house clicking. Topping off that strange journey, the title-track ‘Lagerfeuer’ merges polyrhythmic intricacies with a forward-moving, earwormy kind of linear groove, all laced with a spooky baseline that stretches out into a purgatory of frankly eerie dissonances. Enough with the words, just jump on board Ben Oyefeso’s ghost train for a seriously tortuous, nonconformist ride across dance music’s jagged ridges and most secret crevasses.

Five years in the game marks a very special milestone for In-Reach Records, a label born from a love of drum & bass music and a passion to share that love with like-minded individuals. What better way to celebrate that milestone than a compilation of the sounds and souls that have fuelled the labels journey so far. The artists behind all nine of IRR’s past releases have combined, along with some important members of the In-Reach family, to create this exquisitely emotive VA album.

Heading up the release is a very serious piece of wax dropping in September 2023. The 12” vinyl exclusive album sampler comprises two tracks that have been causing waves in the scene for some time. Kicking off with Kid Drama’s remix of ‘Another Place’, we have an expert re-work of an already awesome track from Sam Binary and Deviant. The hissing bass joins the drum break half way through the intro while the vocal sample repeats its mantra. As expected, a gear change hits on the drop with the entry of sub bass stabs, which take on an increasingly melodic form as they evolve throughout the track.


The legendary Madcap takes on remix duties for the B-side with his take on Greekboy’s & AKA's ‘The Jungle’, which first aired on LTJ Bukem’s Radio 1 Guest Mix in 2021. The stepping drum break enters from the outset, building atmosphere alongside the pads and vocal cries in preparation for the extremely weighty running baseline.

Accomplished duo Paradigm Shift debuts on Lone Romantic with a powerful new single that comes remixed by cult electronic hero Nathan Fake.

Paradigm Shift is a dynamic duo pushing the boundaries of sonic exploration with a mix of ethereal melodies and pulsating beats. The Dallas, Texas pair of Coy Wright and Trent
Pawley make everything from ambient downtempo to high-energy electro and have since their early days in the mid-90s. They show here that they are still very much at the forefront with a sound as fresh as ever.

The cinematic 'Force One' is a smooth electronic cruise on snappy drums and languid synths. It's a carefully layered track with cosmic drama coming from the evolving leads and scattered hits and one that will sweep up the dance floor and take it to all new levels.

Border Community, Ninja Tune, and Cambria Instruments associate Nathan Fake has been crafting leftfield sounds for 20 years. He is a true innovator who paints with his synths and crafts some of dance music's most immersive sounds. He flips 'Force One' into a more kinetic cut that is dense with scintillating synth craft, oversized hi hats and melancholic leads. It makes for an epic journey that never stops shifting and seducing.

This is another adventurous package from the always forward thinking Lone Romantic.

‘Force One’ (incl. Nathan Fake Remix) by Paradigm Shift is available on Lone Romantic from 29th September 2023.

: Written and recorded in a series of bedroom studiosin England and France, London-based Gareth Donkin’s extraordinary debut, Welcome Home, showcases the 23-year-old’s stunning mix of instrumental virtuosity and emotional intuition, blending highly sophisticated melodic and harmonic craftsmanship with deeply moving lyrical explorations of longing, desire, and determination. The songs here draw on soul, funk, pop, yacht rock,hip-hop, jazz, and even bossa nova, hinting at times to everything from Michael Jackson and Bill Evans to George Benson and Jamiroquai, and Donkin’s performances are nothing short of mesmerizing, layering up instrument after instrument in the best one-man-band tradition of Prince or Stevie Wonder. The result is a moving work that’s equal parts brain and brawn, a masterful coming-of-age self-portrait from a young artist discovering himself—and his sound—one song at a time. Born with perfect pitch, Donkin was already fanatically obsessed with both jazz piano and drums before he turned twelve. In high school, he began DJing and teaching himself to record and sample, and by the time he headed to the Leeds College of Music to pursue a degree in production, he was already writing and recording his own material at home. His first single, “Catharsis,” would go on to rack up more than a million streams on Spotify, and a series of subsequent tracks would find similarly organic success and help land him a deal with the burgeoning drink sum wtr label.

McKowski is pleased to confirm details of his debut solo album: ‘Notes From The Boneyard’, a new release that arrives courtesy of the Deltasonic label.

In anticipation of the record, the Irish songwriter and multi-instrumentalist has unveiled the single “Return of Pygmy Pony”.

“Return of Pygmy Pony” is one of 10 cinematic tracks, alongside previous single “Lake”, that comprise upcoming album ‘Notes From The Boneyard’. Envisioning a fictional world known as ‘The Boneyard’, McKowski’s debut will promise a purely instrumental album of atmospheric folk and otherworldly soundscapes to capture your imagination and seep into your soul.

Utilising a unique blend of acoustic guitars, strings, analog synths, and electronic toys, Mckowski creates a haunting and evocative journey across its transient 35 minutes. Gifted with the talents of some old allies, ‘Notes From The Boneyard’ sees guest musicianship from the likes of Steve Wickham (viola), Howe Gelb (guitar), Laura Mcafadden (cello), Dave Murphy (pedal steel), with St Francis Hotel also adding further elements of atmosphere and production.

With one foot rooted in a dark woodland and the other foot stepping into unknown territory, the end result is a must-listen for fans of soundtracks, the surreal, or simply those searching for the unexpected. Like the wooden beauty of Angelo Badalementi’s ‘Straight Story’ mixed with the dark synth undertones such as Carpenter-esque Moog; it’s the ideal companion for those pensive days and long nocturnal hours.

Skarra Mucci is a Jamaican Reggae and Dancehall artist born in Kingston. Known as the "Dancehall President", his career counts 7 solo albums, including the essential "Return of the Raggamuffin" (2012) and countless classics and cult collaborations, such as the hit "My Sound" from the album "Greater Than Great" (2014) which exceeds 15 million cumulative Spotify and YouTube streams and the critically acclaimed album "Dancehall President" (2016) with its tour of more than 100 dates around the world, from Mexico to China.

5 years after the release of "Skarra Mucci & The One Love Family" (2018), this essential figure of Jamaican music, with his versatile flow and recognizable voice, announces a new studio album with multiple influences "Perfect Timing", which is scheduled for release on September 29, 2023.

The album opens with a hybrid roots-tinged hip hop riddim. Brass and percussion resonate throughout the track as Skarra Mucci gives way to a mesmerizing voice sample that gives the track “Here I Come” all its depth.

An introduction that sets the tone for an album tinged with a mix of genres by Skarra Mucci and his team of top producers brought together by Undisputed Records. "Perfect Timing" is indeed an ode to Reggae of all eras, full of nods to the Sound System culture, from its beginnings to the present day. From the choice of the featurings to that of the producers, nothing is left to chance to offer us a journey through the highlights of this rich culture which has never ceased to evolve, without any period being left behind.

For his 1st single, it is with a major player in the current Reggae scene that Skarra Mucci has chosen to announce the release of his 8th solo album by inviting the Martiniquais Yaniss Odua on the title "Roots Rock Reggae".

Accustomed to albums teeming with successful collaborations, "Perfect Timing" is obviously no exception to the rule. We find in particular on the title "Street Dance" the essential French producers of L'Entourloop, with whom he released the very successful EP "Golden Nuggets" (2019, 6 titles, 17M cumulative streams Spotify and YouTube) to drop once again a banger between Hip-Hop and Dancehall in line with their huge 2013 hit “Dreader Than Dread” (38M combined Spotify and YouTube streams).

Jamaican legend Johnny Osbourne also takes part in the celebration for a version of his classic of the digital era "What A La La", with Skarra Mucci on the Stalag riddim replayed for the occasion by the beatmaker specialist in the matter: Manudigital.

Skarra Mucci continues his exploration of various styles and influences with the very groovy "Dancehall", produced by the musicians of Dub Akom, in which he lets us perceive all his class and his swing. We also find the massive “Who Fool Them”, a UK stepper track produced by Evidence Music, but also the future Dancehall classic “Rappa Pam Pam”, or the huge “Misty Babylon” in a much more Roots register.

The album "Perfect Timing" ends with the eponymous title, on a riddim and Lovers Rock melodies carried by a joyful piano and a groovy bass. A finale in the form of a declaration of love for Reggae, this music which gave him so much and to which he gave everything.

See you on September 29, 2023 to discover "Perfect Timing", Skarra Mucci's new album.

Wewantsounds is delighted to announce the release of Ryuichi Sakamoto's classic LP "Ongaku Zukan", originally issued in Japan on his own School label in 1984.

The reissue will replicate the original Japanese release which offered two versions: a normal edition featuring the LP with a bonus 2-track 7" EP (WWSLP71), and a limited edition which includes a 3-track 12" EP in place of the 7" (WWSLP72)

Remastered by Saidera Mastering in Tokyo the reissue boasts the original gatefold artwork plus an extra 2-page insert with new liner notes by Andy Beta



The early '80s were a turning point for Japanese musician Ryuichi Sakamoto. As a solo artist, the smash hit soundtrack he had composed for 1983's "Merry Christmas Mr. Lawrence" (a film in which he had also acted), had put him on the verge of becoming a global superstar. Meanwhile he had called a halt to his work with Yellow Magic Orchestra; the influential, globally successful pop trio calling it quits after the release of their 1983 album "Naughty Boys".

Against this backdrop, Sakamoto descended on Tokyo's Onkyo Haus Studio to record his fourth solo album, "Ongaku Zukan" ("Musical Encyclopedia") accompanied by a handful of musicians including his ex-YMO partners Haruomi Hosono and Yukihiro Takahashi, and the prolifically talented Yasuaki Shimizu, Tatsuro Yamashita and Toshinori Kondo. Sakamoto began with no particular plan in mind, recording 30 basic tracks over the best part of 1983. It was on his return to the studio the following year that the album truly began to take shape. Accompanied by a newly acquired Fairlight CMI sampler, the musician made extensive use of the revolutionary equipment to create a wide palette of sound textures which he added to the tracks, a creatively fertile process that was captured on film for the French documentary "Tokyo Melody, A Film about Ryuichi Sakamoto".)

Released in August 1984 the album "Ongaku Zukan" proved a huge success, providing Sakamoto with his first top 5 hit in Japan. Filled with inspired melodies that showcase his unique gift as a composer, it offers up a fascinating mix of styles. Asiatic electro pop nuggets ("Tibetan Dance") share space with futuristic ambient pieces ("Hane no Hayashi de"), and brilliantly creative fusions of jazz, funk, techno and reggae ("Etude" and "Tabi no Kyokuhoki.")

Two simultaneous editions of the album were released in Japan: the regular one featuring a bonus 7" EP with two extra tracks: "Replica" and "Ma Mère l'Oye" while a limited edition added a 12" EP (in lieu of the 7") which included a third track, "Tibetan Dance (Version)." An international version was released two years later in 1986 by 10 Records/Virgin under the title "Illustrated Musical Encyclopedia," but with a very different track list. Five tracks from "Ongaku Zukan" were dropped, namely "Self Portrait," "Tabi no kyokuhoku," "Mori no Hito," "A Tribute to N.J.P" and "Tibetan Dance (Version)", to be replaced by two non-album singles from 1985, "Stepping Into Asia" and "Field Work."

This is the very first time that the two 1984 Japanese editions of Ryuichi Sakamoto's classic album have been released internationally in collaboration with the artist's management and Midi Inc., with remastered audio and the original artwork faithfully reproduced, paying tribute to one of contemporary music's undisputed geniuses.

Wewantsounds is delighted to announce the release of Ryuichi Sakamoto's classic LP "Ongaku Zukan", originally issued in Japan on his own School label in 1984.

The reissue will replicate the original Japanese release which offered two versions: a normal edition featuring the LP with a bonus 2-track 7" EP (WWSLP71), and a limited edition which includes a 3-track 12" EP in place of the 7" (WWSLP72)

Remastered by Saidera Mastering in Tokyo the reissue boasts the original gatefold artwork plus an extra 2-page insert with new liner notes by Andy Beta



The early '80s were a turning point for Japanese musician Ryuichi Sakamoto. As a solo artist, the smash hit soundtrack he had composed for 1983's "Merry Christmas Mr. Lawrence" (a film in which he had also acted), had put him on the verge of becoming a global superstar. Meanwhile he had called a halt to his work with Yellow Magic Orchestra; the influential, globally successful pop trio calling it quits after the release of their 1983 album "Naughty Boys".

Against this backdrop, Sakamoto descended on Tokyo's Onkyo Haus Studio to record his fourth solo album, "Ongaku Zukan" ("Musical Encyclopedia") accompanied by a handful of musicians including his ex-YMO partners Haruomi Hosono and Yukihiro Takahashi, and the prolifically talented Yasuaki Shimizu, Tatsuro Yamashita and Toshinori Kondo. Sakamoto began with no particular plan in mind, recording 30 basic tracks over the best part of 1983. It was on his return to the studio the following year that the album truly began to take shape. Accompanied by a newly acquired Fairlight CMI sampler, the musician made extensive use of the revolutionary equipment to create a wide palette of sound textures which he added to the tracks, a creatively fertile process that was captured on film for the French documentary "Tokyo Melody, A Film about Ryuichi Sakamoto".)

Released in August 1984 the album "Ongaku Zukan" proved a huge success, providing Sakamoto with his first top 5 hit in Japan. Filled with inspired melodies that showcase his unique gift as a composer, it offers up a fascinating mix of styles. Asiatic electro pop nuggets ("Tibetan Dance") share space with futuristic ambient pieces ("Hane no Hayashi de"), and brilliantly creative fusions of jazz, funk, techno and reggae ("Etude" and "Tabi no Kyokuhoki.")

Two simultaneous editions of the album were released in Japan: the regular one featuring a bonus 7" EP with two extra tracks: "Replica" and "Ma Mère l'Oye" while a limited edition added a 12" EP (in lieu of the 7") which included a third track, "Tibetan Dance (Version)." An international version was released two years later in 1986 by 10 Records/Virgin under the title "Illustrated Musical Encyclopedia," but with a very different track list. Five tracks from "Ongaku Zukan" were dropped, namely "Self Portrait," "Tabi no kyokuhoku," "Mori no Hito," "A Tribute to N.J.P" and "Tibetan Dance (Version)", to be replaced by two non-album singles from 1985, "Stepping Into Asia" and "Field Work."

This is the very first time that the two 1984 Japanese editions of Ryuichi Sakamoto's classic album have been released internationally in collaboration with the artist's management and Midi Inc., with remastered audio and the original artwork faithfully reproduced, paying tribute to one of contemporary music's undisputed geniuses.

After re-signing to Nuclear Blast in early 2021, the Finnish heavy metal sextet BATTLE BEAST are once again getting ready to unleash their force upon the world in the shape of their brand new masterpiece »Circus Of Doom«. The album is set to be released on January 21st 2022 via Nuclear Blast and in true BATTLE BEAST fashion, the 10 tracks blend true heavy metal with pop and rock-vibes, paired with Noora Louhimo’s unique voice. »Circus Of Doom« was once again recorded at JKB Studios in Helsinki, Finland and produced and mixed by keyboardist Janne Björkroth, while the stunning artwork was created by Jan Yrlund (KORPIKLAANI, MANOWAR etc.), who already took care of BATTLE BEAST’s previous two album designs.

Having only formed in 2008, BATTLE BEAST first signed a record deal with the renowned German metal label Nuclear Blast in 2011. The release of their acclaimed debut »Steel« (2012), won the band a support slot for their labelmates NIGHTWISH. Frontwoman Noora Louhimo finally joined the band in 2012 and the band’s self-titled record (2013) was released shortly afterwards. BATTLE BEAST then got the opportunity to open for bands such as SONATA ARCTICA and POWERWOLF on extensive runs. Their ascent up the metal ladder was quick and the band’s 3rd studio album »Unholy Savior«, achieved remarkable chart positions all over Europe (#1 Finland, #23 UK Rock, #39 Germany etc.). This release was accompanied by another big European tour, but this time with Swedish heavy metal heroes SABATON and DELAIN. BATTLE BEAST’s very first headline run throughout the Continent rounded off their »Unholy Savior« touring cycle.
Their 4th studio album, »Bringer Of Pain« in 2017 reached even higher chart positions (a.o. #1 in Finland, #14 in Germany) and was also BATTLE BEAST’s first output without their original songwriter Anton Kabanen. In 2019, alongside the huge #1 success in the album charts of their home country, Finland, their last album »No More Hollywood Endings« reached a remarkable #11 in German album charts and proved to be their most successful piece yet.
Their latest masterpiece, »Circus Of Doom«, is overall heavier, but still as catchy as ever with bangers like “Masters Of Illusion”, “Freedom”, or the title track “Circus Of Doom”. Once again, the band stay true to their formula of “100% heavy metal - 0% bullshit!”

Following the acclaimed 2022 album releases, 'On The
Grove' and its dub counterpart 'Grove Dub', Soul Revivers
return with a new 7" single 'Shouting Dub' / 'Furthest Dub'.
Shouting Dub' is a rebuild of a classic, vintage rhythm that
was recorded at Studio One, and features Henry Matic
Horns Tenyue on trombone, Dougal Caston on sax, and
Adrian McKenzie on drums. 'Furthest Dub' is a fresh dub to
'Look No Further' (from the 'On The Grove' LP), which
features featuring Ms. Maurice, bandleader of London-based
Afro-jazz collective Kokoroko. Both tracks were mixed live on
the board, old school style, at Yard Studios by Soul Revivers’
Nick Manasseh.

- 180 GRAM AUDIOPHILE VINYL
- INCLUDING INSERT
- 25TH ANNIVERSARY EDITION
- FIRST PRESSING OF 1.500 INDIVIDUALLY NUMBERED COPIES ON FLAMING (ORANGE & YELLOW MIXED)
COLOURED VINYL

They've never been praised for the great albums they produced, but Adorable released one of the stronger albums during the year 1993. Stuck in the moment between the end of the shoegaze hysteria and the Britpop era their debut album Against Perfection appeared. The heavy instrumentation and impressive voice of lead singer Pete Fijalkowski can definitely be linked to the perfection they're searching for in their music. The bittersweet Sunshine Smile' shows their crossover between shoegaze and Britpop, while the secret choruses from the guitar hooks creates the thrill of the unknown on Glorious'. The pre-Adorable tune Homeboy' is a track that follows the quiet-loud music line and it got some distortion and big bass sounds.


Adorable released only two studio albums before disbanding as a music group. It was an impressive 5-year period in which they combined the dreamy world of the shoegaze with the pop, but never got the recognition they deserved.

Against Perfection is available as a first pressing of 1.500 individually numbered copies on flaming vinyl.