Cerca:mo mo

With their first EP "Handprint Negatives", the quartet Ha The Unclear messes things up with a surprising punk insouciance and a great sensitive intelligence.

The track "Paperboats" is a model of explosive composition, accompanied by a climbing imagination like psychedelic ivy and, let's say it, a bit surreal. Let's get carried away by the madness and the genius of the group which releases this track to accompany the release of their EP.

For its second release, Providenciales Records was able to unearth a previously unreleased album from the Buster Brown Band, featuring Kelly McNulty (from the Tagg/McNulty Band), Roger Burton (from the Bee's Knees), Jim Casey, Gregg Bissonnette (Ringo Starr's drummer), among others ...

Inspired by some of the best Soul, AOR and Funk artists, the band recorded these demos in studio in 1982 thanks to their local success in Dallas, TX, at the popular Popsicle Toes venue (the album title).
“Baby Don’t Lie” starts the album with a beautiful and mellow Soul / AOR introduction, while the following tracks, “Day Or Night”, “Endless Possibilities”, “Shock Proof” and “Say It” complete the LP with their Soul / Funk touch. There is even the first version of "Baby Don't Lie" as closing track, which was recorded 5 years before, in 1977.

Band members have collaborated with artists such as Lee Ritenour, Ringo Starr, Harvey Mason, The Isley Brothers, Smokey Robinson, Kenny Pore, Eric Tagg, and much more…

Liner notes (including exclusive pictures) and full story of the band by the one and only Grammy awarded David Ritz (co-author of "Sexual Healing" with Marvin Gaye)!

Limited edition of 500 copies, fully remastered!

I was lucky enough to release Godflesh 'Love is a dog from Hell' on my old label Pathological many moons ago. I was equally lucky to drop JK Flesh 'In Your Pit' on my new label PRESSURE three years ago, and then follow that up with the G36 vs JK Flesh sound clash 'Disintegration Dubs' last year. Justin has consistently handed me pure audio gold, and actually gifted me some of my favourite releases from him full stop, in an incredible career of riches which he has tirelessly. produced since Napalm Death til today. So again, I’m now totally psyched to drop 'Sewer Bait' on my label PRESSURE. The sixth album from JK Flesh, this album is a Slo-mo, Slo-fi, Sewer tech journey into utter gutter level filth. Overdriven, corroded, corrupted and absolutely blasted, it contains so many essential elements of clubland low life, but yet manages to remain beautifully original whilst pushing all levels deep into the red until it hurts in the best possible way. Anyone hooked on Andy Stott's dirtiest works, Porter Ricks deepest explorations or Techno Animal's speaker punishing grooves will find addictive nourishment within these relentlessly distorted heavyweight grooves.... Not so much hard as completely f-ckin brutal, the master stroke from Justin Broadrick however, is takin his raw materials and feeding them militantly into the dub chamber. This is like a wholesale destruction of Techno, 4/4 for people too wasted and strung out to give a f-ck about dancefloors, yet compelling enough and magnetic enough to completely insist upon fully body hypnotism in an undersized room with an oversized rig. The album's title track sounds like Drum & Bass don Digital or the peak of the Metalheadz label dragged down into hell for the ultimate bad rave trip, whilst 'Crawler' could be Killing Joke, jammin with Regis and his aggro allies from Birmingham Techno's underappreciated discography, deep in a warehouse warzone. You don’t have to dig techno to dig this dirt, you just have to enjoy having your head taken off and your body physically punished. If Jeff Mills output had been chopped, screwed and then painfully, slowly crushed, it may resemble the monolithic, psychedelic, crawl of 'Sewer Bait'.” – Kevin Martin

Toronto-based retro-soul artist Claire Davis shares her journey of self-worth and love on her debut album "Get it Right", out April 21st 2023, via LRK Records. This lively 10-track analog soul LP was recorded to an 8-track tape machine by engineer Braden Sauder in a converted garage- studio in Toronto, owned by the renowned instrumental jazz/hip-hop group, BADBADNOTGOOD. Featuring some of the city's top-flight musicians in the R&B/Soul scene, the album was laid down live-off-the-floor in one week during the winter of 2022. Davis shares, "My heart really lies in live performance so I wanted to recreate that experience as much as possible for this record by having the musicians all record together to tape. I feel like I personally thrive under the limitations that tape gives you; it offers the opportunity to
capture a vibe of a performance more so than chasing perfection. Knowing that my favourite soul records were recorded this way gives me an even deeper appreciation for the skill and talent involved in this process." "Get it Right" is a record born out of the faith that there's better things on the other side of fear.
Whether that's breaking toxic cycles or being truly honest about what is and isn't working in life. The first song written for the record was the title-track of the album which began as a jam between Davis on guitar, producer Scott McCannell on bass, and drummer Chino deVilla. "The lyrics were inspired by my relationship with my partner and the intention that we both have to work on healing ourselves in order to make our partnership work. I'd like to think that it's a love
song with a strong sense of maturity and understanding to it. And the whole record was really shaped around that idea of my relationships and experiences stemming from my own sense ofself-love add my desire to live and create from an authentic place."

The songs on the album feature co-writes from Scott McCannell, Kyla Charter, and Toronto production house Safe Spaceship Music, in addition to horn and background vocal arrangements by composer La-Nai Gabriel. Musicians include Heather Crawford on guitar,
Scott McCannell on bass, Adrian Hogan on keys, Chino de Villa on drums, Juan Carlos Medrano on percussion, Aphrose, Tegan Michelle Gordon and Chynna Lewis on background vocals, and horn section The Northern Soul Horns.

"Get it Right" follows up Davis' most recent 7" vinyl release of "Long Gone"/ "Times Have Changed" and most recent single release "Intuition" on LRK Records Huey Morgan played "Times Have Changed" on " The Huey Show " on BBC Radio Six
Tune of the week on David Bishops Street Sounds radio.
Karen Gabay played "Intuition" taken from the album on "The People" BBC Manchester

The fifth transmission on BRUK comes from Chewlie, a breakthrough artist from Switzerland adept at sculpting tense, sharply defined atmospheres with eerie amounts of space and dreadful amounts of bass. Following up on her 2022 Creature LP for YUKU, this eight-track deep dive explores nervous hallways of dislocated rhythm with a UK soundsystem attitude and a subtle but striking approach to sound design.

In contrast with the strident melodic tones of Creature, Chewlie demonstrates her versatility as a sonic artist (alongside her established work as a graphic designer). Understated moodiness is the key here, resulting in powerful heads-down immersion heaters with stand-out moments to make the floor fall in line amidst meditative, patient pauses in between. In the field of leftfield dubwise club music, Chewlie's voice strikes out with purpose and poise, slotting into the firmament of BRUK as another natural misfit in the many-sided bassweight landscape.

Synth lovers rock at its best! Jamaican born and New-York based, Laury Webb is a singer, musician, producer, actor, former model and writer. He's been called both the Opera Dread and the Frank Sinatra of Reggae.
Laury's musical career began with a role as keyboardist and later backing vocalist with the reggae vocal group The Meditations (with whom he continues to perform).
Laury Webb posses a unique and eclectic vocal style. He has performed at some of New York city's premier musical venues, including Lincoln Center's Alice Tully Hall, The Village Gate, S.O.B.'s, The Ritz, The Lion's Den, Joe's Pub, Leopard Lounge, Kenny's Castaway, Central Park Summer Stage, The Baggot Inn and The Brooklyn Bowl.
After enjoying years of being a back-up musician, Laury launched a solo career with his Tigerbone Band. During that period he recorded and releases singles "Woman My Queen" and "It Seems The Same".
He was fresh out of college and touring with The Meditations, when he purchased a small organ for his girlfriend/mother of his two children for Christmas. By the time her birthday came around he was so broke and could not afford to purchase a birthday present for her so he gave her a writing pad and pen and told her to write down whatever came out of her mouth, and he sat at the keyboard and began playing and singing. “Woman My Queen”, was the result.
“It Seems The Same” was begun in America but I did not finish writing it till the music was recorded. My cousin, Barry Biggs, worked with me on this one. We both sang on the backing tracks.
Written, Composed & Arranged by Laury Webb
Artwork by Parade Studio
Woman My Queen:
Recorded at Quadrasonic Studio (New-York) in 1986
Backed by The Tiger Bone Band
Bass: Leroy Guy
Keyboard: Laury Webb
Drums: David Ranglin
Guitar: Royo
Mixed by Peter Lewis
It Seems The Same:
Recorded at Music Mountain Studio (Jamaica) in 1987
Keyboard & Drum Programming: Winston Wright
Backing Vocal: Laury Webb & Barry Biggs

A Ghanaian funk LP from the afrofunk master. one of Ebo Taylor's rarest and most sought-after!
Ebo Taylor and The Pelikans is being reissued on vinyl by Comet Records, pressed on high quality vinyl, with label designs and artwork as per the original release.

Originally released by Ghanian Abookyi label in 1976, Ebo Taylor and The Pelikans is one of Taylor’s most elusive releases, and marked the first time he sang on the seminal Ghana Funk anthem “Come Along”.
The album saw the legendary musician, producer, composer and arranger joining forces with 12-piece Cape Coast Ghanian band ‘The Pelikans’ led by Bessa Simmona with rhythm guitarist Fifi Orleans Lindsay.

Put simply, there has never been a musician and artist quite like Ebo Taylor. As an artist, arranger, musician and producer he’s a combination of James Brown, Nile Rodgers and Quincy Jones: He not only created some of the greatest funk songs ever recorded but as much if not more than that, his genius as an arranger gave the signature sound to high life and afrobeat that was made famous by his one-time London roommate (from when they were both music students, in The early 1960s) Fela. And his funky guitar brought a percussive sound to the rhythm section that didn't exist before.

The sounds across these four tracks were made by SIM and NAP from 2021 to 2023 with lots of love and bass... the sessions started from the first time they met at NAP's studio, point always to kick it, jam and see what happens. After a couple months of that of course a sound develops, a process shines and a friendship grows. After a year or so trust built and a language made present. Transcending the spoken word and feeling unique to both...things start to really go off and the jams turn to songs. Two years pass and it’s time to celebrate with the marker and archive of all those deep sessions, now in edited form to be shared with all. And yeah, you can have all in common with someone when it comes to digging wubs, riddims and drum machines but add vulnerable earnest meetings with meals in between and good conversation about things other than music (or maybe how other things relate to it) and then you get something really special, something like SINNAZ. SIM and NAP journeying into collaboration with a debut EP of rhythmic noise, driving bog beats, swampy dembows, radioactive Dancehall and unhinged experimentalia.

Pale Blue unveil the penultimate single from their forthcoming album on Crosstown Rebels with ‘Together Alone’, accompanied by a driving and hypnotic remix from Kölsch. Artists with renowned solo careers alongside their ever-evolving journey as the critically acclaimed duo Pale Blue, Mike Simonetti and Elizabeth Wight continue to showcase why their collaborative material is much-loved from all corners of the electronic realm and beyond. Arriving on the heels of the release of the playful and charming ‘No Words’, the pair return to Damian Lazarus’ Crosstown Rebels with the third and penultimate single ahead of their forthcoming album release as they switch up the mood and veer into wistful territories across the absorbing ‘Together Alone’ - backed by a remix from Kompakt mainstay and electronic heavyweight, Kölsch.

A carefully created journey across almost eight minutes, ‘Together Alone’ is an exemplary showcase of balance and restrain as delicate melodies and hazy tones float amongst subtle nimble percussion arrangements, blooming synths and Wight’s captivating vocals for a deep dive into dreamy spheres. Bringing his own take to the record, Danish electronic pioneer Kölsch heads to Crosstown Rebels with his excellent crafted ‘I Have You’ remix, as he builds on the original with a powerful and emphatic introduction of anthemic leads, crisp kicks and a warping bassline rooted at the track’s core to transport the production firmly into the heart of the dancefloor.

Omni AM presents the long-awaited reissue of “Can We Get / Keep Doing That.” This timeless record sent dance music in a new direction. Euphoria Record’s vaults are open and finally, for the first time since 1997, this seminal tech-house classic is available to everyone for the very first time in over 25 years. This 1997 indie record was Euphoria Records second release – and their first international record. Whether you agree with it or not, many people consider this one of the pioneering records of American Tech-House. Both sides and several mysterious alternate versions have graced the decks of DJs like Evil Eddie Richards, Terry Francis, Derrick Carter, Tyler Stadius, and Magda. The list goes on.

We were lucky. Curve Pusher lovingly remastered the original four tracks from the 1997 studio masters. Then, he went a step further, and remastered some previously unreleased versions – including a live version in Chicago that encapsulates what Omni AM was back then: ambient house. There’s a bit of Chicago, a bit of London, a bit of New York, and a bit of Tokyo in every second of these classic, genre-defining tracks.

A1.
“Can We Get” happily sits with the finest works of Ron Trent, Chez Damier, and Mood II Swing – and goes further, as Omni AM has never feared genre definitions. It opens with classic deep house chords, floating synth pads, and sparse vocals. The bassline is deep and warm. Marky Star and Adam Collins expertly work the percussive effects but always keep the theme simple and clear. Everyone knows this is a classic house track because it hypnotizes you.

A2.
“Keep Doing That” continues the theme with another classic late-night killer. However, this one is totally different – almost industrial, yet clearly housey and ambient. It drives deep into a tough groove that just builds and builds. The dub-influenced bass line gives way to a more angular synth riff that both offsets and adds to the track's forward thinking sound design. It’s dark and dirty, yet terribly sexxxy at the same time. It was and always will be mesmerizing. Once again, musical magic by Marky Star and Adam Collins.

B-Sides
The flip side features two remixes of “Keep Doing That” by UK tech-house legend Mark Ambrose. His bubbly, psychedelic take on the track pumps up the percussive Chi-town groove while going in a distinctly London afterhours direction. Trippy, for sure. Fun for all, for sure. These remixes are guaranteed to make your afterhours weird.

SUZI returns after the beautiful EP by Downstairs J with a new power compilation, including contributions by Beta Librae, Flørist, Dashiell, and Alfredo 92. This VA record explores modern takes on tech dimensions driven by catchy grooves.

The record debuts with an essential dancefloor killer by Dashiell, a talented musician based in Naarm/Melbourne. "Beep Beep" has a slick badass attitude driven by its frenetic core melody, accompanied by a spooky cosmic atmosphere, and makes this track an instant hit for dancefloors.

The second contribution, "Listening to the ants," comes from Beta Librae, one of NYC's most unique exports in recent years. Her signature contemporary deep-bleep-groovy sound can also be found in this composition, which has a slow and dubby feel filled with small insect-like details. A perfect symbiosis between organic and digital worlds.

On the flip side, we find "Dot Matrix," a groover by Berlin-based Flørist. Breaky tech-house with MPC-like swingy shakers channeling a balance between minimalistic details and slightly scratchy sound design. The bass-line, one of the key elements here, comes and goes over and over again, creating superb tension from beginning to end.

The final track "Bora" of the record comes from Copenhagen, by Alfredo 92. What makes this track so special is its propulsive drive without any kick drum in it. The association of wind-like groove elements combined with a subtle melody makes this beautifully crafted sonic tempest.

Curation and design by Cleveland. Mastering by Marco Pellegrino at Analog Cut. Distribution & production by One Eye Witness.

DMX Krew announces his return to Peggy Gou's Gudu Records with a new four-track EP, sharing the dreamy, Detroit-inspired title track, ‘Return to Jupiter’.

The full EP - out 14th April 2023 - will be his second release for the label and Gudu’s first release of 2023, set to be the label’s busiest year yet.

Ed DMX made his debut for Gudu with 2019’s Don’t You Wanna Play? EP, becoming the first artist to release on the label outside Peggy herself. Ed and Gudu have retained a regular working relationship ever since: he mastered Indonesian crate-digger Dea’s ‘Glazer Drum’ release for Gudu, contributed a pair of remixes to the reissue of Riff’s South African electro curio ‘Jacks Jive’, and now returns to the label with Return to Jupiter, a new original four-track EP.

Ed has been one of electronic music’s most respected faces for over 25 years. Debuting in the mid-1990s, he released his first decade of music almost exclusively through Grant Wilson-Claridge and Aphex Twin’s Rephlex label and his own Breakin’ imprint, but recent years have seen him ply his trade across a who’s who of dance music’s most respected underground labels: including Hypercolour, Balkan Vinyl, Central Processing Unit and, of course, Gudu.

Inspired by the futurist funk and vivid synthesiser epics of classic Detroit, ‘Return to Jupiter’ is dripping with richness and colour, driven by the sort of thick analogue basslines and distinctive melodies that have come to define Ed’s catalogue. The EP’s title track sets the tone for what’s to follow, introducing a language of sorts for the record - before ‘Altered Chords’ turns the funk up to 11, ‘U Ain’t Down’ aims its distorted kicks and wiggy, manipulated lead straight at peak time dancefloors, and ‘I Love Juan’ closes the EP on a star-gazing tip.

Founded by Peggy Gou in 2019, Gudu releases music from a global roster of artists, including DMX Krew, Maurice Fulton, Hiver, Dea, Mogwaa, Brain de Palma, Dukwa, JRMS and Peggy herself (including the hits ‘Starry Night’, ‘I Go’ and ‘Nabi’). 2023 will see Gudu’s busiest year to date, with new releases scheduled from the current roster and some exciting new faces.

Bjarki launches creative hub Differance Engine with new four-track EP, ‘Look At Yourself Pt.1’

The project sees the founder combine with creative Thomas Harrington-Rawle, building on the pair's recent AV show ‘Look At Yourself’ with a wealth of new projects and releases slated for 2023.

DJ, producer, live artist and label owner Bjarki, full name Bjarki Rúnar Sigurðarson, launches his latest creative project Differance Engine and label Differance with a brand new EP in February. Welcoming a new home for the Icelandic favourite to release and showcase audio-visual projects, the creation of Differance Engine sees him reunite with London-based creative and partner-in-crime Thomas Harrington-Rawle - the creator of Care More, featured on Nowness, ARTE and more.

Set to become the central focus for all things creative, Difference Engine will serve as a diverse ‘mother hub’ for a myriad of new projects from the pair, including GUM Magazine - an experimental print publication set to challenge existing publications and zines with a focus real conversations and forward-thinking audiovisual work - while also absorbing Bjarki’s longstanding imprint bbbbbb recors next year. The launch arrives on the heels of the duo's recent conceptual audiovisual show ‘Look At Yourself’ exploring and experimenting with ‘AI’ technology during ADE at Amsterdam’s renowned Nxt Museum, with forthcoming appearances in Foligno, Italy on 29th December and in London in the New Year.

Opening 2023, the label boss unveils the first EP in a three-part series, ‘Look At Yourself Part 1’. Comprised of four expansive originals, the release welcomes a first look at the new audiovisual direction crafted and shaped by Sigurðarson and Harrington-Rawle, featuring his recently released single ‘Do You Like Yourself’, and new single ‘I Wish I Was A Mode’ - out 9th December..

“Differance Engine is mine and Thomas’ new platform where we will be testing out all kinds of material. It will also operate as a label and an engine which will run both bbbbbb records and GUM Magazine. There are a lot of magazines dying out and having a hard time surviving. Thomas and I want to show some depth into the hearts and minds of individuals through music, visuals and with words. 2023 will be the year of vulnerability and real talks.” - Bjarki.

Wandering the line between perceived and actual reality, the four productions balance playful AI-generated voices with darker sonics, deconstructing societal issues and exploring human-to-human interaction within cyberspace. Accompanied by a warping video, B2 ‘I Wish I Was a Model’ is a trippy dive into Harrington-Rawle’s ever-evolving world as he warps and twists human subjects amongst their surroundings.

Drop a needle on Psyché's debut double-sider – the debut album is out on May 19th – and you'll see visions, or rather Mediterranean visions, be they of waves of heat shimmering above dunes of sand, or of women dancing around a bonfire on a rocky plain, or of bushy cliffs overlooking emerald-green and turquoise sea. The name Psyché is of course ancient Greek for 'soul' or 'mind',signifying the band's love of psychedelic funk, but also the wide range of Mediterranean influences – from Southern Europe to the Balkan Peninsula, and from Anatolia to the Maghreb – that provide an endless source of inspiration for their hypnotic sound and minimalist style.

Psyché members Marcello Giannini (Guru, Nu Genea, Slivovitz), Andrea De Fazio (Parbleu, Nu Genea, Funkin Machine) and Paolo Petrella (Nu Genea) have been active in the Naples music scene for almost two decades, most notably during the first wave of the new Neapolitan Power movement (Slivovitz, Revenaz Quartet). Over the years they have often crossed paths and collaborated on side projects in various genres (math-rock duo Arduo and, more recently, Italo-disco duo Fratelli Malibu), before working together as the rhythm section of Nu Genea's live band. Following their first tour with Nu Genea in 2018, they started Psyché with the intent of exploring more minimalist styles and making musicwith just a few elements.

A unique combination of psychedelia, groove and improvisation, the music of Psyché goes back to the roots of our future; it evokes visions of a mythical past, blending centuries-old music traditions and mixing them with modern genres. Like a warm Mediterranean breeze, it travels across lands, seas and eras, distilling essential rhythms and cosmic pulsations.

"Cumbia Mahàre", on side A of the 7-inch, dives deep into the origins of rhythm, drawing us into the movements of an imaginary ritual dance (the term mahàre was used in Southern Italian dialects to indicate witches). Through the interplay between minimal synths and exhilarating rhythmic patterns of drums, percussion, guitar and bass, Psyché take a fresh and bold approach to contemporary afrobeat and cumbia fusion.

"Ophis", on side B, is a mesmeric blend of African, Balkan and Turkish rhythms and sounds. Ethereal vocalizations and warm, hypnotic bass lines combine with psychedelic riffs and haunting melodies on guitar to evoke ancient cultures whose spiritslithers like a snake across the dunes of a sun-scorched desert.

Early DJ Support from: Laurent Garnier, Riz La Teef, Boofy, Ojoo Gyal, Addison Groove, Emerald, Main Phase, Miley Serious, Kouslin, Yushh, Bakey, Tãn, Sister Zo, GRRL (NTS), Syz, Flore, Star Eyes, Lefto, Roger 23, Tailor Jae, Ciel, Om Unit + more

The beautifully executed Sandman repress has some perfectly executed remixes, from some of the most talented and capable artists in the industry - and they need to be because Psychosis is a musically superior track to many of its peers, both past and present.

New Decade brings a solid toughness and perfect production on his remix, while Innercore blends his classic credentials with a more modern sound. Meanwhile, KFA regular Ponder changes it up with a d'n'b style workout. But each remix stands proud and alone, and will devastate any dancefloor!

T4T LUV NRG present the first vinyl release by Gynoid 74, the beloved Glaswegian DJ known also as Miss Cosmix. Label heads Eris Drew & Maya Bouldry-Morrison (Octo Octa) met Gynoid 74 through their work with the queer Shoot Your Shoot event series in Scotland. Gynoid 74 has been DJing for 20 years and has shared her knowledge of DJing and sound with so many artists in Glasgow that she’s truly beloved there for her contributions to the scene. She’s as likely to be DJing as she is to be working sound at a local club or huddled off in her home studio. The three artists all formed an immediate connection because of their mutual love for old school electronics, tape culture, and proper house music. When the label finally heard Gynoid 74’s original music they were blown away. Gynoid 74 tracks are a truly refreshing mix of 12-bit sampling and raw breaks alongside “tracky” house music that could have come from Chicago in the 80s, but didn’t. The songs on the “Shroom E.P.” are elemental and elegant, each one recorded on a limited kit of gear by a special artist who makes timeless music for herself, creating little worlds of her own to exist in.

The vinyl release includes the incredible original artwork of ocypode_quadrata, which beautifully illustrates Gynoid 74 in communication with her snails and mushrooms.

French techno titan Madben unveils his much anticipated ‘Troisième Sens’ LP on Maceo Plex’s Ellum Audio.

Madben started absorbing the techno of Jeff Mills, Dave Clarke and Speedy J in the 90s, growing up in Lille in northern France. He retains a passion for DIY culture and warehouse parties thanks to youthful raving at Brussels' Fuse, Gent's Kozzmozz or in abandoned factories in Courtrai. All this has shone through in his music, including a debut album on Astropolis in 2018 that featured a collaboration with Laurent Garnier and a recent EP for Garnier and Scan X’s label.

Over the last decade, he has become a European club and festival favourite playing places like Berghain and Awakenings. His studio boasts a fine array of machines utilised to full effect on this latest opus. ‘Troisième Sens’ perfectly reflects what the artist has always loved, listened to and played, keeping one eye on the dance floor but never at the expense of musical narrative. It’s a genuinely progressive, multi-genre body of work that allows listeners to fully immerse themselves in the seemingly limitless depths of the Frenchman’s sonic capabilities.

He says, “Over the years, I learned to have more fun with the gear in my studio, and this has been the result. The album took three years to finish; I started in an underground basement studio in Paris before moving to Nantes. Therefore, it may surprise listeners with such a diverse selection of moods. It's dark in places but happy in others.”

'Departure' kicks off with uplifting synth work and broken techno beats that have a celebratory feel. 'Addicted' is a lithe cut with steamy vocals and a more fulsome combo of drums and bass, while 'Circuit Breaker' cuts loose in the cosmos. Acid wobbles, smeared synths and metallic percussion all make for a bouncy cut before 'Fade In Fade Out' continues the cosmic trip with vastly oversized synth patterns that will light up a dark space with overwhelming euphoria.

The brilliant 'It's 1 am In A Rave' is a dark, heads-down banger with 'Lost Memories' then layering up melancholic synths and Plastikman-style drum loops into something full of deep thought. There is no let up with the superb acid techno gymnastics of 'No fear', and 'The March' is a turbulent mix of sheet metal synths that whip about over steel-plated drums. 'You Dance Like A Robot' is end-of-the-world electro with a menacing robot vocal, and the electro tip continues with expert drum programming and menacing leads on 'Deep In The Jungle'. 'Meta' is a flailing rhythmic workout that sounds like the machines are in meltdown, and 'I Made A Dream During This Nightmare' is a serene techno soundscape for ruminating about the future of the human race.

Intelligent yet immediate, impactful but emotional, ‘Troisième Sens’ is another standout techno record from Madben.

Alternative Hip Hop Artist Rebel ACA Channels his Pain in "Migraine" ft. Spragga Benz, Rodney P

LONDON - The word "migraine" can make you twinge, especially if you experience the pounding head, vertigo, and tinnitus associated with migraines. Imagine if you put all those feelings into music - that is what Rebel ACA did with his latest single, "Migraine."

Rebel ACA's new single flows through his twenty-year journey of advising on international tax by day and rapping and producing by night. Perhaps, the ACA stands for his accounting qualification.

Dropping in April, there will be two versions, an original version and a DJ Phantasy Remix of "Migraine" on streaming platforms. Depending on the version, "Migraine" is a musical representation of a severe headache. The drum and bass mix features a funky, constant drone throughout the track, while the original version is a funk-latent hip-hop song.

"I suffer very badly from migraines every week," said Rebel ACA. "To me, it was logical to write a song about migraines. The lyrics talk about what it feels like by using synthesizers to bring out the feeling of a migraine."

Joining Rebel ACA on the single is Spragga Benz and Rodney P. The duo shares their thoughts on using marijuana to cure a migraine. While Rebel ACA acknowledges he is not a medical doctor, studies have shown that smoking weed can reduce migraine pain.

"We talk about smoking weed to fight the migraine," he said. "The lyrics revolve around what it feels like to have one in your head. Doctors have told me that migraines are caused by triggers like alcohol and getting f*cked up. Then you get a migraine and now you get more f*cked up on pills or weed to feel better." This revolving cycle spirals throughout the single.

Born and raised in the UK, Rebel ACA experienced London's musical melting pot from birth. Hailing from northwest London, he was exposed to the rich Caribbean influence and massive underground music scene.

From squat parties to illegal raves, London's music was all mashed up, and Rebel ACA soaked up every genre and cultural influence. As a result, he is a successful singer/songwriter/producer who fuses hip hop, reggae, and indie sounds to create his unique style.

"Where I come from, the UK hip hop is like the 90s hip hop in America," he stated. "There is a hip hop scene that talks about poetry. I'm trying to keep it real with my lyrics and talk about things that are important other than guns, money, and bitches."

Rebel ACA's music is versatile but uniquely his own by utilizing numerous live instruments and coming in hard with a big boom-bap sound. The Rebel ACA sound is born by adding a funk influence on his tracks aligned with funky bass. On "Migraine," he uses some vintage 70s French influence vibes to give the single a flavor of its own. There is nothing out there like "Migraine."

Rebel ACA records under Buttercuts Records, a company he owns and operates. The London-based production company has been "bashing out buttery beats" since 2000. Buttercuts Records is the go-to place for releasing hip hop, reggae, breaks, funk, soul, and folk records with a tongue-in-cheek attitude and marketing that surpasses witty wordplay.

As "Migraine" gains international attention, it is easy to understand how Rebel ACA combines old and new hip hop with effortless flows and brilliant lyrics. Maybe the world is ready for an international tax advisor who drops bars and vibes out to some wicked rhymes.

Make sure to stay connected to Rebel ACA on all platforms for new music, videos, and social posts.

a A1. DJ PHANTASY VOCAL MIXfeat. Rebel ACA
b A2. DJ PHANTASY DUB MIXfeat. Rebel ACA
[c] A3. DJ PHANTASY INSTRUMENTAL MIX [feat. Rebel ACA]
[d] B1. OLD KOOL F U NKY MIX [feat. Rebel ACA]
[e] B2. OLD KOOL F U NKY INSTRUMENTAL [feat. Rebel ACA]
[feat. Rebel ACA]

Red Vinyl
Infonabeat Records (Mexico) is proud release ISSR A002
A Compilations of tracks from VA producers around the world
that projects a contemporary vision of Techno that emphasizes on industrial and obscure sonic scenarios.
with tracks By:

Olēka:The new alter ego of the already well-known Bosnia & Hercegovina-based DJ/Producer Forest People, He has affirmed himself as a new powerhouse in today's techno scene,
This moniker emphasizes the more industrial, and distorted side of techno.

Dahraxt: DJ producer and label owner based in Berlin Germany has a proposal with heavy basses and delicate rhythmic transitions.

Voca Negra : This project is the collaboration of Label Owners Ricardo Carmona (Ixbalanke) Based out of Tijuana Mx. and Miguel Angel Vazquez (Netika)Based out of San Diego Ca/ Tijuana Mx
This project portraits a contemporary and fresh approach to techno representing the region, displaying it with complex rhythmic patterns,
hard and robust bases with non conventional lead designs and vision.

Ixbalanke: Ricardo Carmona DJ/Producer and Label Owner Portrays a Obscure and abstract landscapes ,penetrating and vibrant sequences with unique Leads

'MOb' - powered by the crowd, harbours a dynamical system and wave of musical disorder that characterises their compositions. Their music is carved into a world of melodious electronic jazz, kraut, filmic and exploratory post-punk. The compositions are mainly based on open forms of tonal and non-tonal linear material, while improvisation lends a balance to the production of melodic material and the creation of multifaceted sonic atmospheres.

Harlem & Irving label partner Brian Kelly assumes his Supplement alias here for a new and limited edition 12" that features two of his tasteful and challenging sounds. Kelly is always out to disrupt and subvert and does so with aplomb here as the a-side title track starts with a whisper but soon grows with layers of found sound, piano, percussion, and ethereal voices. It then collapses before reemerging with melodic and tonal guitars and pulses. On the flip, the same tune comes 'Revisioned' but is much more cold and distorted, edgy and urgent. This record also comes with s the published essay, Revision: Composing an Aesthetics of Performance Pedagogy (Kelly & Wooda, 2016).

New pressing on cream vinyl, 1000 copies only. Gatefold sleeve, and 2x180gm LPs. Originally put together by a couple of Belgian Joy Division experts to celebrate the 25th anniversary of the sadly missed Ian Curtis-and the year that the Ian Curtis Movie began to be made. Now the movie is out to much critical acclaim. This album contains extremely rare audio interviews with all members of Joy Division - some of which have never seen the light of day before plus spoken word contribution on one number from Martin Hannett and a rare Martin Hannett interview. The interview sections are interspersed with superb live performances from various venues through the career of the band including rarities from Dutch and Belgian concert performances and a couple of rare alternative studio outtakes. The gatefold sleeve contains lots of Joy Division images and a detailed biographical article on the band. Track sources: 01. Pennine studio version January 8th 1980 02. Ian Curtis interview excerpt - Castle Pub '79 03. RCA session May 1978 04. Ian Curtis / Steven Morris interview excerpt - Rock On, Radio 1 '79 05. RCA session May 1978 06. Ian Curtis interview excerpt - Castle Pub '79 07. RCA session May 1978 08. Martin Hannett interview excerpt - Rock On, Radio 1 '79 09. Warsaw demo July 18th 1977 10. Ian Curtis interview excerpt - Castle Pub '79 11. RCA session May 1978 12. Ian Curtis / Steven Morris interview excerpt - Rock On, Radio 1 '79 13. RCA session May 1978 14. Ian Curtis interview excerpt - Radio Blackburn '80 15. Live Amsterdam, Paradiso 11th January 1980 16. Martin Hannett interview excerpt, Rock On, Radio 1 '79 17. RCA session May 1978 18. Ian Curtis / Steven Morris interview excerpt - Rock On, Radio 1 '79 19. Live Amsterdam, Paradiso 11th January 1980 20. Ian Curtis interview excerpt - Radio Blackburn '80 21. Live Eindhoven, Effenaar 18th January 1980 22. Bernard Sumner comment about Martin Hannett - presumably an excerpt from a radio or TV documentary 23. Live Eindhoven, Effenaar 18th January 1980 24. Ian Curtis interview - Radio Blackburn '80 25. Live Eindhoven, Effenaar 18th January 1980 26. Live Eindhoven, Effenaar 18th January 1980

Das kommende Jahr 2023 wird das letzte Kapitel in der langen Geschichte der legendären deutschen Thrash-Metal-Band HOLY MOSES markieren, das mit dem kommenden neuen Studioalbum "Invisible Queen" und einer letzten Reihe von Live-Shows gefeiert wird.

"Ich bin im Dezember 1981 zu Holy Moses gestoßen und das hat den Weg, den ich in meinem Leben gehen sollte, grundlegend verändert. Unser erstes Album im Jahr 1986 hieß "Queen Of Siam" und nun, um die Sache abzurunden, wird mein letztes Album mit Holy Moses im
Jahr 2023 den Titel "Invisible Queen" tragen", verrät Sängerin Sabina Classen und ergänzt: "Nach 42 ereignisreichen Jahren und nach so vielen großartigen Alben, fantastischen Shows und unglaublichen
Erlebnissen ist die Zeit gekommen, das letzte Kapitel von Holy Moses zu schreiben. Und wir freuen uns, dass dies über Fireflash Records mit der Veröffentlichung unseres 12. Studioalbums "Invisible Queen" geschieht."

Das kommende Jahr 2023 wird das letzte Kapitel in der langen Geschichte der legendären deutschen Thrash-Metal-Band HOLY MOSES markieren, das mit dem kommenden neuen Studioalbum "Invisible Queen" und einer letzten Reihe von Live-Shows gefeiert wird.

"Ich bin im Dezember 1981 zu Holy Moses gestoßen und das hat den Weg, den ich in meinem Leben gehen sollte, grundlegend verändert. Unser erstes Album im Jahr 1986 hieß "Queen Of Siam" und nun, um die Sache abzurunden, wird mein letztes Album mit Holy Moses im
Jahr 2023 den Titel "Invisible Queen" tragen", verrät Sängerin Sabina Classen und ergänzt: "Nach 42 ereignisreichen Jahren und nach so vielen großartigen Alben, fantastischen Shows und unglaublichen
Erlebnissen ist die Zeit gekommen, das letzte Kapitel von Holy Moses zu schreiben. Und wir freuen uns, dass dies über Fireflash Records mit der Veröffentlichung unseres 12. Studioalbums "Invisible Queen" geschieht."

Light in the Attic Records is proud to present the next installment of the Nancy Sinatra Archival Series with the first ever reissue of the classic 1972 album Nancy & Lee Again. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pair's most enduring and ambitious duets including the epic "Arkansas Coal (Suite)," the sensual "Paris Summer" and the incredibly powerful Dolly Parton-penned "Down From Dover." Equal parts daring, psychedelic, cinematic, and sweet, Nancy & Lee Again reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come. Nancy & Lee Again is available in a variety of formats, including vinyl and CD. The vinyl LP is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activist's personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissue's GRAMMYr-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, "Machine Gun Kelly" (first time on vinyl) and the previously unreleased "Think I'm Coming Down." Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with "These Boots Are Made For Walkin'." Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy's solo hits. Soon, the duo found success with a series of duets, including "Sand," "Summer Wine," and "Some Velvet Morning" - all of which appeared on their highly-influential 1968 debut. Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. "Trivial music and not profound music became unimportant," recalls Nancy, speaking to Hunter Lea. "It was a tough time." And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together. Returning to Los Angeles for the project, Hazlewood - who reprised his role as producer - chose to take a new direction with the duo's sophomore album. Nancy recalls, "It was more dramatic; it was more fun to do, more challenging to do_. It was more grandiose." Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. "We didn't have label support at all in those days," recalls Nancy. "Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It's a very ageist kind of business." Nevertheless, she adds, "I think it's a very good album. I think it's timeless." Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Light in the Attic Records is proud to present the next installment of the Nancy Sinatra Archival Series with the first ever reissue of the classic 1972 album Nancy & Lee Again. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pair's most enduring and ambitious duets including the epic "Arkansas Coal (Suite)," the sensual "Paris Summer" and the incredibly powerful Dolly Parton-penned "Down From Dover." Equal parts daring, psychedelic, cinematic, and sweet, Nancy & Lee Again reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come. Nancy & Lee Again is available in a variety of formats, including vinyl and CD. The vinyl LP is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activist's personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissue's GRAMMYr-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, "Machine Gun Kelly" (first time on vinyl) and the previously unreleased "Think I'm Coming Down." Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with "These Boots Are Made For Walkin'." Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy's solo hits. Soon, the duo found success with a series of duets, including "Sand," "Summer Wine," and "Some Velvet Morning" - all of which appeared on their highly-influential 1968 debut. Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. "Trivial music and not profound music became unimportant," recalls Nancy, speaking to Hunter Lea. "It was a tough time." And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together. Returning to Los Angeles for the project, Hazlewood - who reprised his role as producer - chose to take a new direction with the duo's sophomore album. Nancy recalls, "It was more dramatic; it was more fun to do, more challenging to do_. It was more grandiose." Nancy & Lee Again remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, Record World, and Cash Box, among others. Yet, Nancy & Lee Again never received the spotlight it so utterly deserved. "We didn't have label support at all in those days," recalls Nancy. "Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It's a very ageist kind of business." Nevertheless, she adds, "I think it's a very good album. I think it's timeless." Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

When Leon Michels and El Michels Affair released their rst record, Sounding Out The City, in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later - all while producing for some of the biggest names in the industry - Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. Releasing on Big Crown Records, the LP is called Glorious Game and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him. Michels and Black Thought have been in each other's orbit for a while now. The two first met in the 2000s when Thought was first getting familiar with the contemporary soul scene. "Out of that whole world, Menahan Street Band was probably my favorite," recalling the funk and soul group Michels was a founding member of back in 2007. Fast forward a few years and musicians from that collective - Dave Guy on trumpet and Ian Hendrickson-Smith on sax - are now full time players with The Roots. This connection eventually led Leon and Thought to doing a few fundraising events around NYC and Philly together. "Before long, Black Thought was coming around the studio and would jam with us from time to time," Michels explains. "Then, fast forward to 2020 and COVID lockdowns, he just hit me up out of the blue, wanting me to send him stuff to write to. We both were looking to stay busy" Being that Black Thought is the co-founder and emcee for, hands down, the best live-band group in hip-hop. Michels took a decidedly different approach to this project and instead of sending recorded tracks of live compositions, he pulled out the sampler and sampled himself and some records from his collection. "I'm a big fan of soul music," as if Michels has to remind us. "And part of hip-hop's appeal to me has always been the sample-based production" For Glorious Game, Michels would make wholly composed and recorded soul songs in his studio, sample himself, then chop and/or loop up his sounds and create instrumentals for Black Thought. On some tracks he took a more traditional hip-hop approach, starting from samples of other people's music but then adding live instrumentation on top. But for the most part, it's him reinterpreting his own compositions into something new. The result is an organic feel of loop-based tracks that breathe and uctuate enough for Black Thought to ex on. "What I write about is determined by the equation of the producer's energy and my energy," Black Thought says. "It's about where we meet." So armed with Michels sampled and re-sampled soul cinematics, Black Thought rhymes through personal memories.

SKY HIGH BLUE COLOURED VINYL

When Leon Michels and El Michels Affair released their rst record, Sounding Out The City, in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later - all while producing for some of the biggest names in the industry - Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. Releasing on Big Crown Records, the LP is called Glorious Game and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him. Michels and Black Thought have been in each other's orbit for a while now. The two first met in the 2000s when Thought was first getting familiar with the contemporary soul scene. "Out of that whole world, Menahan Street Band was probably my favorite," recalling the funk and soul group Michels was a founding member of back in 2007. Fast forward a few years and musicians from that collective - Dave Guy on trumpet and Ian Hendrickson-Smith on sax - are now full time players with The Roots. This connection eventually led Leon and Thought to doing a few fundraising events around NYC and Philly together. "Before long, Black Thought was coming around the studio and would jam with us from time to time," Michels explains. "Then, fast forward to 2020 and COVID lockdowns, he just hit me up out of the blue, wanting me to send him stuff to write to. We both were looking to stay busy" Being that Black Thought is the co-founder and emcee for, hands down, the best live-band group in hip-hop. Michels took a decidedly different approach to this project and instead of sending recorded tracks of live compositions, he pulled out the sampler and sampled himself and some records from his collection. "I'm a big fan of soul music," as if Michels has to remind us. "And part of hip-hop's appeal to me has always been the sample-based production" For Glorious Game, Michels would make wholly composed and recorded soul songs in his studio, sample himself, then chop and/or loop up his sounds and create instrumentals for Black Thought. On some tracks he took a more traditional hip-hop approach, starting from samples of other people's music but then adding live instrumentation on top. But for the most part, it's him reinterpreting his own compositions into something new. The result is an organic feel of loop-based tracks that breathe and uctuate enough for Black Thought to ex on. "What I write about is determined by the equation of the producer's energy and my energy," Black Thought says. "It's about where we meet." So armed with Michels sampled and re-sampled soul cinematics, Black Thought rhymes through personal memories.

Tape

When Leon Michels and El Michels Affair released their rst record, Sounding Out The City, in 2005, it was hard to guess what was next for Michels and his then-introduced, now-patented "cinematic soul" sound. Now, four EMA studio albums and scores of tribute and remix projects later - all while producing for some of the biggest names in the industry - Michels has trademarked his sound, with each project taking audiences somewhere new and pushing the boundaries of what he is known for. The man is a river, not a lake and this time he takes his golden touch into the realm of hip-hop laying down a musical bed for one of the greatest to ever rhyme into a microphone: Black Thought of The Roots crew. Releasing on Big Crown Records, the LP is called Glorious Game and it is a remarkable debut partnership in more ways than one. Michels provides his bottom-heavy, soul-tinged production for Black Thought who gives us some of the more personal and transparent verses we've ever heard from him. Michels and Black Thought have been in each other's orbit for a while now. The two first met in the 2000s when Thought was first getting familiar with the contemporary soul scene. "Out of that whole world, Menahan Street Band was probably my favorite," recalling the funk and soul group Michels was a founding member of back in 2007. Fast forward a few years and musicians from that collective - Dave Guy on trumpet and Ian Hendrickson-Smith on sax - are now full time players with The Roots. This connection eventually led Leon and Thought to doing a few fundraising events around NYC and Philly together. "Before long, Black Thought was coming around the studio and would jam with us from time to time," Michels explains. "Then, fast forward to 2020 and COVID lockdowns, he just hit me up out of the blue, wanting me to send him stuff to write to. We both were looking to stay busy" Being that Black Thought is the co-founder and emcee for, hands down, the best live-band group in hip-hop. Michels took a decidedly different approach to this project and instead of sending recorded tracks of live compositions, he pulled out the sampler and sampled himself and some records from his collection. "I'm a big fan of soul music," as if Michels has to remind us. "And part of hip-hop's appeal to me has always been the sample-based production" For Glorious Game, Michels would make wholly composed and recorded soul songs in his studio, sample himself, then chop and/or loop up his sounds and create instrumentals for Black Thought. On some tracks he took a more traditional hip-hop approach, starting from samples of other people's music but then adding live instrumentation on top. But for the most part, it's him reinterpreting his own compositions into something new. The result is an organic feel of loop-based tracks that breathe and uctuate enough for Black Thought to ex on. "What I write about is determined by the equation of the producer's energy and my energy," Black Thought says. "It's about where we meet." So armed with Michels sampled and re-sampled soul cinematics, Black Thought rhymes through personal memories.

* New 10” from ultra-cool Helsinki-based roots, dub and reggae label / sound system Intergalaktik Sound.
* Featuring 4 cuts on the same deep roots rhythm featuring vocals from the legendary G.T. Moore and Dan I Locks.
* Produced by IGS Riddim Force, mixed, voiced and dubbed up by Russ D from The Disciples.

We’re still harvesting the fruits of those past days in seclusion, the cabin fever induced creative outbursts, ideas that would probably have never surfaced without these enforced trips to our inner minds. Lockdown transcendence.

“Don’t Cry” by Italo-Brazilian DJ producer Stephan Barnem and Futuristant is another impressive testament of those days. Secluded in Stephan’s studio in Northern Italy, the duo subconsciously conjured the spirits of one of their mutual favorite bands, Depeche Mode and created a fierce, boombappy Neo New Wave smasher contrived to send rays of hope into the darkest corners of this mad world. We had to add a gratuitous beatless version to the EP that amplifies the cinematic depth and healing potency of this song.

If “Don’t Cry” echoes the dark brooding euphoria of Depeche Mode’s “Music For The Masses” era, the flipside cut “Elysium” harks back to the synthwave happy days of their debut “Speak & Spell”. It’s a wonderfully careless track that’s bringing a dearly needed breeze of fresh air to today’s discerning dancefloors.

Boys don’t cry for me Argentina. Save your tears for another day.

Wir ernten immer noch die Früchte jener vergangenen Tage in Abgeschiedenheit, der vom Lagerkoller verursachten kreativen Ausbrüche, Ideen, die ohne diese erzwungenen Reisen in unser Inneres wahrscheinlich nie entstanden wären. Lockdown-Transzendenz.

„Don’t Cry“ des italo-brasilianischen DJ-Produzenten Stephan Barnem und Futuristant ist ein weiteres beeindruckendes Zeugnis jener Tage. In der Abgeschiedenheit von Stephans Studio in Norditalien, beschwor das Duo unbewusst die Geister einer ihrer gemeinsamen Lieblingsbands, Depeche Mode, herauf und schuf einen wilden, boombappigen Neo-New-Wave-Smasher, der Licht in die dunkelsten Ecken dieser verrückten Welt senden wird. Wir mussten der EP eine Beatless-Version von “Don’t Cry” hinzufügen, die die filmische Tiefe und heilende Kraft dieses Songs noch verstärkt.

Wenn „Don’t Cry“ die dunkle, grüblerische Euphorie von Depeche Modes „Music For The Masses“-Ära widerspiegelt, erinnert der Flipside-Cut „Elysium“ an die Happy Synthwave-Tage ihres Debüts „Speak & Spell“. Es ist ein wunderbar sorgloser Track, der den dringend benötigten frischen Wind auf die anspruchsvollen Tanzflächen von heute bringt.

Boys don’t cry for me Argentina. Save your tears for another day.

On Giver Taker, the gorgeous debut album by Anjimile, death and life are always entwined, wrapping around each other in a dance of reverence, reciprocity, and, ultimately, rebirth. Giver Taker is confident, intentional and introspective. Anjimile Chithambo (they/them, he/him) wrote much of the album while in treatment for drug and alcohol abuse, as well as while in the process of living more fully as a nonbinary trans person. Loss hovers over the album, whose songs grieve for lost friends ("Giver Taker") and family members ("1978") along with lost selves ("Maker," "Baby No More," "In Your Eyes.") But here, grief yields an opening: a chance for new growth. Each song on the album is its own micro-journey, adding up to a transformative epic cycle created in collaboration with bandmate Justine Bowe of Photocomfort and New-York based artist/producer Gabe Goodman. "1978" and "Maker" both begin as Sufjan Stevens-esque pastoral ballads with Chithambo's mesmerizing voice foregrounded against minimal instrumentation and swell into the realm of the majestic through the addition of warm, steady instrumentation (informed by the mix of 80's pop and African music Chithambo's Malawi-born parents played around the house) and harmonies by Bowe. "In Your Eyes" starts out hushed and builds to a crescendo via a mighty chorus inspired by none other than the Lion King. The allusion is fitting: each song encapsulates a heroic voyage, walked alone until accompanied by kindred souls. The choirs present throughout are equally deliberate. Chithambo grew up as a choir boy himself, and several songs (notably "Maker") grasp not only towards reconciliation between his trans identity and his parents' strong religious beliefs, but towards reclaiming his trans identity as an essential part of his own spirituality.

Welcome vinyl reissue of the rare and in-demand boogie classic 'Summer Groove' by The Joneses. Originally released in 1981 on tiny US label Good Records, the 12' features the full eight and a half minute long 'Moving On' version of this magnificent soulful disco burner. Big on the UK's jazz-funk scene at the time as well as in the US, this super-cool grooving track still fills floors today with its soaring strings and vocals, hi-voltage guitars and pumping heavy bass. Essential summer party jam - don't miss!

New Born is a group of four Italian immigrants who all lived in the area around Ulm/Bavaria.

Primarily they sang more Italian songs and were more on the traditional side of Italian music.

This record is a perfect example of what can happen when the drummer says “Let´s jam” to the musicians. The outstanding track “Galaxy” came out, the vibe of it is like an early piano house track and a hybrid of cosmic and disco.

The original copy of the record is nowadays a highly requested collector´s item, that skyrocketed in terms of prices. Originally released as a 45 single in 1981 the record was pressed in a very small run. Try to find a unicorn it’s easier.

We decided not to do only a simple reissue of it, we asked the creme de la creme of cosmic disco to make us a new born version of the track “Galaxy”. Camp Cosmic aficionados “Albion” & “Spacelexx” are responsible for two mesmerizing versions of this song. On top, we pressed the whole record as a 12″ from the original master tapes.

Die neuseeländische Musikerin und Produzentin Princess Chelsea präsentiert ihr kommendes "nervous breakdown album" "Everything Is Going To Be Alright", das im pastoralen Aotearoa Neuseeland aufgenommen wurde und eine Art Trostspender ist. Es sind keine traurigen Lieder, sondern die beiden Eröffnungs- und Schlusstracks erzählen von Chelseas Genesung und sind als kathartischer Hörgenuss für alle gedacht, die es brauchen könnten. "If you feel you want to die / trust me darling / it just takes time", singt sie in "Time". In der Zwischenzeit zeigen Chelseas sorgfältig geschichtete Gesangsmelodien über Mellotron-Flöten und Harfe, verwoben mit Live-Cello und Violine, ihre Fähigkeiten als Arrangeurin und Produzentin. Princess Chelseas cineastischer, verträumter Pop hat sich in elf Jahren, fünf Alben, einer EP und elf Singles weiterentwickelt. Ihre Vortragsweise und ihr Songwriting zeichnen sich dadurch aus, dass sie eine fast naive Ernsthaftigkeit mit zynischem, augenzwinkerndem Witz und akustischen Funken überlagert. Ihr Grunge-Girlgroup-Song "I Love My Boyfriend" aus dem Jahr 2018 und ihr von Nancy & Lee inspiriertes "Cigarette Duet" aus dem Jahr 2011 haben ihren Bekanntheitsgrad durch den Einfluss einer neuen TikTok-Generation in das öffentliche Bewusstsein gerückt. Für dieses Album wurden Chelseas Instrumentalarrangements von ihrer Live-Band inspiriert, die die Schlafzimmerdemoaufnahmen mit einem überraschenden Sound interpretiert hat. Es klingt anders, als man vielleicht erwarten würde. "The Forest" wurde live in einem Take mit Chelsea und der gesamten Band im beliebten neuseeländischen "The Lab" aufgenommen und zeigt dynamische Gitarrenwände und eine leidenschaftliche Gesangsperformance. Es ist eine markante Abweichung von ihrem bisherigen Schaffen und stellt eine weitere Einführung in das dar, was sie seit der Veröffentlichung der verträumten und doch düsteren Single "Everything is Going To Be Alright" im Februar als ihr "Gitarrenalbum" bezeichnet hat. Chelseas Fähigkeiten als Arrangeurin und Produzentin kommen auf dem Album voll zur Geltung, aber oft in Form von komplizierten Gitarrenarrangements, die an The Cars und die Breeders ("Forever is a Charm") und an klassische neuseeländische Flying Nun-Bands der 80er und 90er Jahre ("Love is More") erinnern. Obwohl das Album eine deutliche musikalische Entwicklung darstellt, sind ihre Markenzeichen immer noch da - klassische 80er Jahre Synths (Yamaha DX7, Roland D-50), vielschichtige Melodien, orchestrale Instrumente, verträumter Gesang, verdrehter Pop, der oft Vergleiche mit Julee Cruise oder Enya gezogen hat.

PURPLE VINYL


A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/ vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. Rat Saw God, the Asheville quintet's new and best record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of Nineties shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din. Rat Saw God is an album about riding a bike down a suburban stretch in Greensboro while listening to My Bloody Valentine for the first time on an iPod Nano, past a creek that runs through the neighborhood riddled with broken glass bottles and condoms, a front yard filled with broken and rusted car parts, a lonely and dilapidated house reclaimed by kudzu. Four Lokos and rodeo clowns and a kid who burns down a corn field. Roadside monuments, church marquees, poppers and vodka in a plastic water bottle, the shit you get away with at Jewish summer camp, strange sentimental family heirlooms at the thrift stores. The way the South hums alive all night in the summers and into fall, the sound of high school football games, the halo effect from the lights polluting the darkness. It's not really bright enough to see in front of you, but in that stretch of inky void - somehow - you see everything. The songs on Rat Saw God don't recount epics, just the everyday. They're true, they're real life, blurry and chaotic and strange - which is in-line with Hartzman's own ethos: "Everyone's story is worthy," she says, plainly. "Literally every life story is worth writing down, because people are so fascinating." But the thing about Rat Saw God - and about any Wednesday song, really - is you don't necessarily even need all the references to get it, the weirdly specific elation of a song that really hits. Yeah, it's all in the details - how fucked up you got or get, how you break a heart, how you fall in love, how you make yourself and others feel seen - but it's mostly the way those tiny moments add up into a song or album or a person.

Eric D. Johnson rarely lingers at one location too long. As a kid growing up in the Midwest, Johnson's family moved around a lot, but it wasn't until he became a touring musician years later that motion became a central part of his identity. That transient lifestyle stoked an enduring reverence for the world he watched pass by through a van window. A sense of place is a unifying theme he's revisited with Fruit Bats throughout its many lives. From the project's origins in the late '90s as a vehicle for Johnson's lo-fi tinkering to the more sonically ambitious work of recent years, Fruit Bats has often showcased love songs where people and locations meld into one. It's a loose song structure that navigates what he calls "the geography of the heart." "The songs exist in a world that you can sort of travel from one to another," says Johnson. "There are roads and rivers between these songs." Those pathways extend straight through the newest Fruit Bats album, aptly titled A River Running to Your Heart . Self-produced by Johnson_a first for Fruit Bats_with Jeremy Harris at Panoramic House just north of San Francisco, it's Fruit Bats' tenth full-length release and one that finds the project in the middle of a creative resurgence. After two decades of making music, hard-earned emotional maturity has seeped into Johnson's songs, resulting in a more complex sound that's connected with audiences like no other previous version of Fruit Bats. A River Running to Your Heart represents the fullest realization of that creative vision to date. It's a sonically diverse effort that largely explores the importance of what it means to be home, both physically and spiritually. And while that might seem like a peculiar focus for an artist who's constantly in motion, for Fruit Bats, home can take many forms_from the obvious to the obscure. Lead single "Rushin' River Valley" is a self-propelled love song written about Johnson's wife that clings to the borrowed imagery of the place where she grew up in northern California. Then, there's the gentle and unfussy acoustic ballad "We Used to Live Here," which looks back to a time of youthful promise and cheap rent. But the wistful "It All Comes Back" is perhaps the most stunning and surprising track on the album, Johnson's production skills on full display. Built upon intricate layers of synths, keyboards, and guitars, it's a pitch-perfect blend of tone and lyricism that taps into our shared apprehensions and hopes for a post-pandemic life. "We lost some time / But we can make it back / Let's take it easy on ourselves, okay?" sings a world-weary but ultimately reassuring Johnson in the song's opening lines. It's the kind of performance that makes you hope Fruit Bats stays in this one place, at least for a little while longer.

BLUE & BONE VINYL

Eric D. Johnson rarely lingers at one location too long. As a kid growing up in the Midwest, Johnson's family moved around a lot, but it wasn't until he became a touring musician years later that motion became a central part of his identity. That transient lifestyle stoked an enduring reverence for the world he watched pass by through a van window. A sense of place is a unifying theme he's revisited with Fruit Bats throughout its many lives. From the project's origins in the late '90s as a vehicle for Johnson's lo-fi tinkering to the more sonically ambitious work of recent years, Fruit Bats has often showcased love songs where people and locations meld into one. It's a loose song structure that navigates what he calls "the geography of the heart." "The songs exist in a world that you can sort of travel from one to another," says Johnson. "There are roads and rivers between these songs." Those pathways extend straight through the newest Fruit Bats album, aptly titled A River Running to Your Heart . Self-produced by Johnson_a first for Fruit Bats_with Jeremy Harris at Panoramic House just north of San Francisco, it's Fruit Bats' tenth full-length release and one that finds the project in the middle of a creative resurgence. After two decades of making music, hard-earned emotional maturity has seeped into Johnson's songs, resulting in a more complex sound that's connected with audiences like no other previous version of Fruit Bats. A River Running to Your Heart represents the fullest realization of that creative vision to date. It's a sonically diverse effort that largely explores the importance of what it means to be home, both physically and spiritually. And while that might seem like a peculiar focus for an artist who's constantly in motion, for Fruit Bats, home can take many forms_from the obvious to the obscure. Lead single "Rushin' River Valley" is a self-propelled love song written about Johnson's wife that clings to the borrowed imagery of the place where she grew up in northern California. Then, there's the gentle and unfussy acoustic ballad "We Used to Live Here," which looks back to a time of youthful promise and cheap rent. But the wistful "It All Comes Back" is perhaps the most stunning and surprising track on the album, Johnson's production skills on full display. Built upon intricate layers of synths, keyboards, and guitars, it's a pitch-perfect blend of tone and lyricism that taps into our shared apprehensions and hopes for a post-pandemic life. "We lost some time / But we can make it back / Let's take it easy on ourselves, okay?" sings a world-weary but ultimately reassuring Johnson in the song's opening lines. It's the kind of performance that makes you hope Fruit Bats stays in this one place, at least for a little while longer.

Rupert Marnie’s debut album “Evocative Rhythm” is a singular object to begin with. Split over two parts, each one working as an individual piece and under seemingly endless configurations when played together on a pair of record players, “Evocative Rhythm” is an elusive piece of musical abstraction you will play a crucial role in shaping, fashioning it as you dabble with it - certainly curious and cautious at first, then manipulating its raw clay more firmly as you envision it with a clearer idea of where to go with it. Or is that just a mirage?
Fruit of geographical meanderings through Hamburg’s tentacular architecture, Rupert Marnie’s maiden full-length effort reflects that of the city’s tonal, rhythmic and harmonic structures in a uniquely vibrant way: dancy and not, ethereal and full-bodied, oneiric and anchored. From field recordings garnered here and there across town, then either truncated, morphed, stretched out beyond recognition via a wide palette of technical means (granular synthesis, time-stretching, use of resonators, delay, reverb, pitch-shifting…), Marnie weaves a narrative that bridges the gap continually betwixt non-formulaic beatless meditation and proper club-focused functionality, plus the countless possible creations that will emerge when combining both sides of the disc to form your own story out the battery of elements at reach.
Evocative Rhythm” is much more than the sum of its parts. A mirage of ambient, techno, electro, whatever style and labels that could be stuck all over it, yet never managing to say a true word of it.

Der ursprüngliche King of Reggae, Desmond Dekker, brachte den Sound Jamaikas durch eine Reihe internationaler Hits in die ganze Welt, wobei seine Musik zwischen 1967 und 1975 nicht weniger als sieben Mal die britischen Pop-Charts zierte. Zu dieser unglaublichen
Reihe von Hits gehörten '007', 'It Mek', 'Pickney Gal', You Can Get It If You Really Want", Sing A Little Song" und die erste in Jamaika produzierte Aufnahme, die die britische 7"-Single-Liste anführte, Israelites".
Alle diese unverzichtbaren Aufnahmen sind auf der "The Essential
Artist Collection" enthalten, die auch das Beste aus seinem übrigen Schaffen umfasst, wobei fast jeder Titel ein großer jamaikanischer Bestseller ist.

Die Sammlung ist sowohl als Doppel-Vinyl-LP mit 28 Titeln als auch als 2CD-Set mit 50 Titeln erhältlich. Die Sammlung ist die neueste in Trojan Records' neuer, stilvoll gestalteter "Essential Artist"-Serie, die die populärsten und einflussreichsten Aufnahmen von von einigen der berühmtesten jamaikanischen Interpreten enthält. Und wie diese hervorragende Zusammenstellung beweist, waren nur wenige Reggae-Künstler waren einflussreicher und gefeierter als der legendäre Desmond Dekker.

The triumvirate of Roky Erickson, Tommy Hall and Stacy Sutherland had to feature. Transcendent slower songs (often) don’t feature full band performances – so, no Splash One. The song had to be a band original. So, no Baby Blue. 13 unlucky for some. This compilation launches a new phase in the 13th Floor Elevators catalogue and previews the forthcoming series THE QUEST FOR PURE SANITY: the release in optimal quality of all surviving source material for all of the band’s recordings. ‘13 OF THE BEST’ has been mastered separately to vinyl, CD, digital and streaming for the best possible sound quality for each format. Each original source has been referenced to the earliest vinyl pressing and meticulously transferred at 96khz 24- bit resolution. Multitrack tapes of the original recording sessions have been newly mixed in strict accordance with the records as first released. ‘You’re Gonna Miss Me’, the band’s seminal single, is presented here for the first time in true stereo. Taken from the original multitrack session tape, the song has been mixed to stereo in accordance with the iconic mono 45 as recorded and engineered by Walt Andrus. ‘Slip Inside This House’ viewed by fans and critics alike as the Elevators’ masterpiece and one of the key psychedelic recordings of the era, is included on the LP as the edited mono single mix so the loudest possible cut can be achieved. The eight-minute stereo version is included on all other formats. ‘Never Another’, ‘Dr Doom’ and ‘Livin’ On’ from the band’s final sessions have been newly mixed but without the overdubs added almost a year after recording. While the session tapes survive, the overdubs do not. ‘Livin’ On’ features Roky Erickson’s original superior vocal performance instead of the overdub used on the ‘BULL OF THE WOODS’ LP. What is uniquely presented here is 100% Elevators as mixed and intended for the LP. No embellishments! ‘13 OF THE BEST’ is produced by 13th Floor Elevators official archivist and historian Paul Drummond who has also written sleeve notes with full track-by-track information.

The triumvirate of Roky Erickson, Tommy Hall and Stacy Sutherland had to feature. Transcendent slower songs (often) don’t feature full band performances – so, no Splash One. The song had to be a band original. So, no Baby Blue. 13 unlucky for some. This compilation launches a new phase in the 13th Floor Elevators catalogue and previews the forthcoming series THE QUEST FOR PURE SANITY: the release in optimal quality of all surviving source material for all of the band’s recordings. ‘13 OF THE BEST’ has been mastered separately to vinyl, CD, digital and streaming for the best possible sound quality for each format. Each original source has been referenced to the earliest vinyl pressing and meticulously transferred at 96khz 24- bit resolution. Multitrack tapes of the original recording sessions have been newly mixed in strict accordance with the records as first released. ‘You’re Gonna Miss Me’, the band’s seminal single, is presented here for the first time in true stereo. Taken from the original multitrack session tape, the song has been mixed to stereo in accordance with the iconic mono 45 as recorded and engineered by Walt Andrus. ‘Slip Inside This House’ viewed by fans and critics alike as the Elevators’ masterpiece and one of the key psychedelic recordings of the era, is included on the LP as the edited mono single mix so the loudest possible cut can be achieved. The eight-minute stereo version is included on all other formats. ‘Never Another’, ‘Dr Doom’ and ‘Livin’ On’ from the band’s final sessions have been newly mixed but without the overdubs added almost a year after recording. While the session tapes survive, the overdubs do not. ‘Livin’ On’ features Roky Erickson’s original superior vocal performance instead of the overdub used on the ‘BULL OF THE WOODS’ LP. What is uniquely presented here is 100% Elevators as mixed and intended for the LP. No embellishments! ‘13 OF THE BEST’ is produced by 13th Floor Elevators official archivist and historian Paul Drummond who has also written sleeve notes with full track-by-track information.

Deluxe Eco Vinyl LP with 16 page lyric booklet! London slowcore band deathcrash have announced their new album Less, due March 31st via untitled (recs). Recorded at the UK's most remote studio in the Outer Hebrides, Less follows their critically acclaimed 2022 album, Return with a statement in reduction that turns out to be as powerful and potent as it is tender and introspective. "The mission statement was to be super minimal," says deathcrash singer Tiernan Banks. "Just simple and beautiful guitar parts and to be really bare. To be...less." Swiftly following Return, the band initially had no plans to make a full length. "The last thing we felt like doing was making another album," says bassist Patrick Fitzgerald. "It was like, 'let's do this little EP that's aesthetically quite different and pared down'." Less was always planned to be a statement in reduction but it soon became apparent that the songs the band were writing were significant, personal and, despite the intentions to strip things back, bigger. "As time went on, we started putting much more emotional weight into it and it became more important to us," says Banks. The result is a record that is as powerful and potent as it is tender and introspective, with arrangements that manage to feel refined yet detailed and with a deep emotional resonance at the core of the record. Banks' voice shifts from hushed whispers to guttural screams, one minute tapping into the kind of fragile beauty that artists like Elliott Smith managed so well, on tracks such as 'Duffy's' before unleashing a doom metal growl in thundering unison with the band on 'Empty Heavy'. The record has confirmed early press support from a number of UK publications, including a 4-page print feature in Loud & Quiet, a feature in Line of Best Fit, and early indications of support from Stereogum and a number of other U.S. publications too. A radio campaign will also be run for the second single 'Duffy's' and we expect support from BBC 6 Music, Apple Music and other tastemaker stations

There's something intangible about Celeste, the Soundcarriers’ second album, originally released in 2010. It has a light, lucid quality, almost like driving exhausted through a strange city at night. Freeflowing yet tethered, dreamy yet attacking, the band continue the fight to reconcile competing impulses. Various threads just about keep the shimmering tapestry from tearing. Haunting folk melodies underpinned by rhythmic static and the physicality of the totally analogue recording and mixing, baroque keyboard counterpoints and sweeping arrangements. The opener “Last Broadcast” seems to encapsulate this but it's almost as if the album gets the angst out of its system with this track and is free to explore the quieter, less crowded back streets. After the smoke of “Last Broadcast” has cleared, the twisting road takes in the soft introspection of “Hideaway” and “Morning Haze”, both tracks morphing into heavy psyche grooves or the eastern tinged psyche funk of “Signals” and “Rise And Fall”. Or takes another turn with the tightly arranged opening segment of “Long Highway”. Somehow it still manages to fit in ‘60s pop gems like “There Only Once”. An album to really lose yourself in, yet more concise than the sprawling Harmonium and more relaxed and freeflowing than the nervy rush of Entropicalia, Celeste could be arguably their most indispensable album and not to damn it with faint praise, their most listenable.

2023 Repress

This 12' a monster and features resident Soul:ution MC DRS, whose voice has been a part of the Soul:R sound from the very beginning . These two huge summer anthems combine to make up the first single to be taken from his debut LP 'I don't usually like MC's but...' 'Count to Ten' featuring Enei and 'Holding On' featuring Lenzman and the further vocal talents of UK hip hop pioneer Jehst and Riya. DJ support from Mark Pritchard, Marky, Laurent Garnier, Doc Scott, Optical & Ed Rush to name a few..

2023 Repress

The long awaited LP From the d&b scenes most accomplished MC's, DRS. These four choice cuts taken from the cd are the
dancefloor smashers. Featuring four of the scenes biggest producers, Dub Phizix, Calibre, Lynx And S.P.Y. This package means
business...

REPRESS

Alessandro Cortini (Nine Inch Nails/How To Destroy Angels) composed the Forse series using a Buchla Music Easel. Forse, meaning "maybe" In Italian, is a series of 3 double LP releases Cortini recorded for Imprec to release in 2013.

"All pieces were written and performed live on a Buchla Music Easel, in the span of one month. I found that the limited array of modules that the instrument offers sparked my creativity. Most pieces consist of a repeating chord progression, where the real change happens at a spectral/dynamic level, as opposed to the harmonic/chordal one. I believe that the former are just as effective as the latter, in the sense that the sonic presentation (distortion , filtering, wave shaping, etc) are just as expressive as a chord change or chord type, and often reinforce said chord progressions.

Of all the years with Nine Inch Nails the period spent writing and recording the instrumental record Ghosts I-IV is probably the one which changed my approach to music making the most. After that record I started getting more into instrumental composition, although I tried to approach it in a different way. While we had a vast array of tools and instruments at our disposal then, I decided to approach my pieces limiting myself to one instrument only, as I found myself being more decisive when faced with a limited creative environment."

2023 Repress

Bellevue Resort is sensual vacation music for humans and non-humans alike... Think of a slightly utopian place, in a future that has not lost it's humanity.

Repress!

Outstanding free jazz session recorded in 1973 in Paris by Chicago outfit BAG.

It was Lester Bowie, trumpeter with the Art Ensemble of Chicago, who suggested that the Black Artists' Group (BAG) should head for Paris. In 1972 several members of BAG took his advice and flew to France for an extended stay. The following year a concert featuring saxophonist Oliver Lake, trumpeters Baikida Carroll and Floyd LeFlore, drummer Charles Bobo Shaw and trombonist Joseph Bowie (Lester's younger brother) was recorded and subsequently issued as In Paris, Aries 1973, a strictly limited edition LP on the group's own label.

Since the formation of Black Artists' Group in 1968, the home of this multidisciplinary arts collective had been St Louis, Missouri, the city where the Bowie brothers had grown up. It was there that Lester Bowie had started to investigate the expanding horizons of jazz before moving, in 1966, to Chicago where he joined the recently established Association for the Advancement of Creative Musicians (AACM). His close friend Oliver Lake visited Bowie, attended AACM concerts and meetings and was inspired not only by their artistic vision and integrity but also by their efficient organisation. In Chicago musicians were making things happen for themselves, taking control of their own destinies and giving shape to their lives as creative artists.

In June 1969, the Art Ensemble of Chicago had taken their music to France. During the preceding decade Paris had established a reputation for audiences that were unusually well-informed and open-minded, receptive to the uncompromising music of black American innovators such as Cecil Taylor, Ornette Coleman, Albert Ayler and Sun Ra. The city that had nurtured not only Cubism and Surrealism, but also Jean-Luc Godard and contemporary cinema's Nouvelle Vague was well prepared for the sonic collage forms and stylistic dislocations of the Art Ensemble. During that same month violinist Leroy Jenkins, trumpeter Leo Smith and saxophonist Anthony Braxton also arrived in Paris, three further emissaries from the AACM.

The adventure of collective improvisation resonated with the Parisian zeitgeist. Enthusiastic audiences attended their concerts and coverage in the media. In Paris, Aries 1973 offers an isolated and fascinating glimpse into that phase of the group's existence. The album is dedicated to the memory of Kada Kayan, a bassist who had hoped to make the trip from St Louis to France but, tragically, had grown ill and died. His absence adds special poignancy to the sound of the bass when it appears on this recording, played by Baikida Carroll. Listeners keen to hear Kayan himself in the company of Lake, Bowie, Shaw, LeFlore and Carroll should seek out Red, Black and Green by the 10-piece Solidarity Unit, Inc. That album, recorded on 18th September 1970 and dedicated to Jimi Hendrix, who died on that day, features an earlier version of Shaw's composition 'Something to Play On.'

In Paris, Aries 1973 reveals BAG's musical affinities with the Art Ensemble of Chicago. Both groups preserved an independently minded approach to the notion of free jazz and a carefully filtered awareness of pan-African musical practices, while their creative interest in space, mobile structure, chance occurrences and simultaneity also suggests parallels with the concerns of leading experimental composers working at that time. These performances in Paris of Shaw's 'Something to Play On' and Lake's 'Re-Cre-A-Tion,' plus two collective compositions/improvisations, display the dedication to structural fluency and sensitivity to coloration that accompanied BAG's unorthodox group dynamics and their unconventional instrumental combinations. In this case the musicians embrace congas, log drums, marimbas, woodblocks, cowbells and gongs. This is not a showcase for solos, but a shape-shifting and multi-centred statement of togetherness, quest and discovery. Removed from BAG's original multidisciplinary context the music still exudes an exhilarating spirit of collaborative exploration and shared excitement.

After releasing "Precipice Fantasy Part I" in October 2022, Koudlam delivers the second part of his album.

The first part is a salvo of meteorites where the artist uses, as usual, standardised pop motifs to better disrupt them, and always without deviating from the ultimate melody, chanted to trance.

The second part is an instrumental and contemplative record, a kind of music for an uncomfortable yoga session, that of a tourist who dreamed of climbing Everest but who no longer has the strength to get out of Kathmandu's underworld.

Koudlam thus delivers the soundtrack of summits and precipices. Or rather the path between the two, sinuous, vertiginous, always on the edge of the blade.

Knowledge is a tool, and like all tools, its impact is in the hands of the user.

ARTS WHITE presents the debut of one of the brightest artists in the Italian scene, 'Earwax' is a project that aim on highly energetic techno, ispired by the good old habits, this EP showcases a variety of ways to destroy floors in dusty Raves. Club 25 represents the modern key to non-sense underground rave music.

First release on this Milan-based reissue label fueled by a passionate interest for visionary genre-crossing music,

A young, free-reined musician with a rich music vocabulary and avant-garde sensibilities pours his heart out on cutting-edge musical equipment. Recorded in Northern Italy in 1989 by Michele Tadini, this release effortlessly fuses ambient and library overtones with the influence of early digital electronic music, underlined by an ethereal atmosphere eerily reminiscent of the best soundtracks by John Carpenter. Seemingly unplaceable in time and space, it is both Italian and world-spanning.

Tape
"And we"re coming out of dreams / And we"re coming back to dreams" is the first thing you hear Bill say as you remake your acquaintance on YTILAER. Right out the gate, he"s standing in two places at once: meeting up with old friends behind the scenes and encountering them on the record, finding himself coming round the bend and then again as someone else on down the line. Like the character actor he played on Gold Record, writing stories about other people, telling jokes about everyone, and in singing them, becoming the songs. "You do what you"ve got to do / To see the picture" Bill"s got a full band sound going on this one, with him and Matt Kinsey on guitars, Emmett Kelly on bass and backing vocals, Sarah Ann Phillips on B3, piano and backing vocals and Jim White on drums. Jim and Matt sing on one song, too, and some other singers come in, too. Bill plays some synth here and there, and Carl Smith drifts in and out of the picture with his contra alto clarinet, as do Mike St. Clair and Derek Phelps on brass. Somehow in between them all, you might think you hear the distant sound of a steel guitar. And you might - but you might not, too. In this company, Bill continues his journey, tunneling underneath the weathered exterior of what seems to be and into the more nuanced life everything takes on in the dark. With Bill"s voice making the extraordinary leaps and bounds that measure the lives of the songs, the band follow him through passages that seem to invent themselves; other times playing with deeply soulful grooves and/or desperate intensity, as these moments come and go. There"s nothing they can"t do. "I wrote this song in five and forever / I"m writing it right now" Bill sings on "Natural Information" - an admission of the everyday alchemy he"s forever trafficking in. Time passes, triangulating the encounters that went into any one record with two out of any three others, all of it made flesh, new constitution, in our stereo speakers. If every album is its own life, it stands to reason that they"re invariably passing in the night. Cascading images flowing from the stream of consciousness. Turning like pages from the journal, unspeakably personal, then suddenly become tall tales, like a book pulled off the shelf, completely unbound. Headlines flow through. Mirror images, mirthful ones. Bill"s lyrics strain at the lines on the page, not content to separate the printing of the fact from the myth or be confined to ink on paper. They want to fly free. And they do. "I realize now that dreams are real" On YTILAER"s inner sleeve, alongside his lyrics, Bill celebrates the "exhilaration and dread" of cover artist Paul Ryan"s paintings. Paul"s another one met up with again down the road, his indelible cover imagery on Apocalypse and Dream River now an axis of meaning in the Callahanian world - and in the bright colors found in these new images, a parallel to Bill"s recognitions here. "A breath of exquisite air as we come up from drowning", sounds like the desired hope for those hearing the songs of YTILAER.

The always superb Sounds Of The City comes through here with some freshness and newness here via their newly minted 'Sounds Of The City, Dark' series. It finds the French outfit Catalogue debuting on the label with a sound that brings a different perspective to the new post-punk movement. Their sound is a mixing pot of an array of different influences and what you get is music that will get you nodding to the grooves while your mind gets lost exploring synthetic elements, angular guitar riffs, robotic rhythms and lovely deep bass.

‘’Ace Todmorden label makes a significant discovery on its own doorstep: a superb cache of ‘loner folk’ songs recorded in the early-70s by Hebden Bridge’s answer to Nick Drake’’ UNCUT PLAYLIST

"This is music that can confidently hold its own with pioneers such as Davey Graham, Michael Chapman, Bert Jansch and Jackson C Frank, as influenced by jazz, blues and steel guitar as any of the old songbook classics from ancient Albion.” Benjamin Myers
"Defiantly Northern and out of this world" Folk Radio

Anti-counter culture loner folk from a teenage attic in the heart of rural Northern hippiedom.
Today the valley town of Hebden Bridge in West Yorkshire is world-renowned as something of a bohemian backwater. It wasn’t like this back in the late 1960s and the early 1970s, when a disparate selection of radicals, drop-outs, heads, musicians, artists and writers started to be attracted to the Calder Valley. Local lad and future poet laureate Ted Hughes called the area “the fouled nest of industrialisation”.
Over time, those seeds of radicalism and collectivism ensured Hebden Bridge evolved into a place where people could be themselves and all shades of individual oddness not only tolerated but actively encouraged. But back at the turn of the dreary 1970s it remained a monochrome world defined by its unforgiving surrounding landscapes, where the old gritstone over-dwellings were stained with soot and rain lashed down for weeks.
It was here that Trevor Beales, who was born in 1953, grew up, and from where he drew musical and lyrical inspiration.
Perhaps it was this dual nationality heritage, unusual in the valley’s largely white working class population at the time, that gave the teenager Trevor Beale’s music an outsider’s perspective. The discovery of Bob Dylan, Django Reinhardt, The Byrds and James Taylor at a young age, lead to him picking up a guitar at the age of ten, and he was soon writing his own originals and performing them at local (though often remote) folk clubs and pubs.
Recorded in the attic of the family home at Ivy Bank in Charlestown on the verdant wooded slopes at the edge of Hebden Bridge between 1971 and 1974, these early recordings are collected here for the first time and mark Trevor Beales long-overdue solo debut.
In these songs is a suffer-no-fools sense of realism that is defiantly Northern, yet also expresses a worldliness that belies Beales’ young years, whilst also showcasing an inherent storyteller’s ear for narrative. Here is a postcard from the past at that crucial musical period of transition, when the idealistic exponents of the 1960s emerged into an austere new decade that was to be shaped by strikes, rising unemployment and economic upheaval.
Two aspects of this music make it remarkable: Beales’ natural ability showcases a sophisticated guitar-picking style that was leagues ahead of many of his (older, more recognised) contemporaries. This is music that can confidently hold its own with pioneers such as Davey Graham, Michael Chapman, Dave Evans, Bert Jansch and Jackson C Frank, as influenced by jazz, blues and steel guitar as any of the old songbook classics from ancient Albion.
Secondly, his lyrics are a far cry from either the naïve bedroom scribblings of a teenager who has barely left his upland home, nor do they fall foul of the type of lazy cliches and sub-Tolkien imagery that was still in abundance in the early 1970s. Most remarkably the earliest songs here were laid down less than a year after he left school (an unearthed report written by his headteacher on July 3rd 1970 noted he had “a considerable ability and interest in music”, though his education ended abruptly when he simply walked out of a science lesson one sunny day while at sixth form, never to return).
Trevor’s music is grounded in reality – his reality. ‘Then I’ll Take You Home’, for example, considers the Guru Marajai, who encouraged his acolytes to give over their worldly possessions, yet who drove a Rolls Royce and lived like a playboy. Unsurprisingly, this latest in a long line of spiritual charlatans found several followers in Hebden Bridge, and Beales casts a disdainful eye over the growing popularity for such false prophets.
With its ancient narratives and propensity for myth-making, folk has certainly produced it’s fair share of cult figures who have enjoyed rediscovery or career resurgence and with this debut compilation of home recordings, rescued from cassette tapes, Trevor Beales might just be the latest addition. Certainly he was the real deal.
Crucially, Beales' music is never jaded or cynical, but instead possesses a poet’s ear, a strong sense of self and some sound critical faculties. And much of it recorded at an age when he could neither vote nor order a pint of heavy.
Trevor Beales died suddenly and unexpectedly on March 29th 1987, aged 33. He left behind Christine and their young child Lydia.

ALADDIN SANE erscheint als limitierte 50th Anniversary Edition im Half Speed Mastering. Diese neue Pressung wurde auf einer speziell angefertigten Neumann VMS80-Drehmaschine mit rundumerneuerter Elektronik aus den restaurierten 192kHz-Mastern der Original-Masterbänder der Trident Studios von John Webber in den AIR Studios geschnitten, ohne zusätzliche Bearbeitung bei der Übertragung. Nicht nur das Album, auch sein Cover hat einen festen Platz in der Geschichte der Rockmusik inne. Es zeigt Bowie in seinem heute längst ikonischen Make-up mit dem rot-blauen Blitz im Gesicht – ein Bild, das sich weltweit unauslöschlich ins kulturelle Gedächtnis eingeprägt hat (bis hin zum offiziellen Emoji). Das Coverfoto wurde von Brian Duffy geschossen, der auch die Cover von LODGER (1979) und SCARY MONSTERS (AND SUPER CREEPS) (1980) fotografierte.

Limited 1 x 140g 12" picture vinyl album.

ALADDIN SANE erscheint als limitierte 50th Anniversary Edition als Picture Disc LP. Diese neue Pressung wurde auf einer speziell angefertigten Neumann VMS80-Drehmaschine mit rundumerneuerter Elektronik aus den restaurierten 192kHz-Mastern der Original-Masterbänder der Trident Studios geschnitten, ohne zusätzliche Bearbeitung bei der Übertragung. Nicht nur das Album, auch sein Cover hat einen festen Platz in der Geschichte der Rockmusik inne. Es zeigt Bowie in seinem heute längst ikonischen Make-up mit dem rot-blauen Blitz im Gesicht – ein Bild, das sich weltweit unauslöschlich ins kulturelle Gedächtnis eingeprägt hat (bis hin zum offiziellen Emoji). Das Coverfoto wurde von Brian Duffy geschossen, der auch die Cover von LODGER (1979) und SCARY MONSTERS (AND SUPER CREEPS) (1980) fotografierte.

A gorgeous and gripping portrait of Fenne's last two years, Big Picture was pieced together in an effort to self-soothe. Tracked live in co-producer Brad Cook's North Carolina studio, the album delineates the phases of love and becomes a map of comfort vs claustrophobia. Though its creation took place amid personal and global turmoil, the ruminative yet candid Big Picture is Fenne's most cohesive, resolute work to date, both lyrically and sonically. "This isn't a sad album _ it's about as uplifting as my way of doing things will allow," she says. "These songs explore worry and doubt and letting go, but those themes are framed brightly." With confidence and quiet strength, each track provides an insight into Fenne's ever-changing view of love and, ultimately, its redefinition _ love as a process, not something to be lost and found. While the album was written alone in Fenne's Bristol flat - a fact intentionally reflected in its compact sonic quality - Big Picture was transformed from a solitary venture into a unifying collaboration during the recording process when she was joined by her touring band, Melina Dutere of Jay Som (mixing), Christian Lee Hutson (guitar and co production), and Katy Kirby (vocals). Notably, these 10 songs are Fenne's first and only to have been written over the course of a relationship; 2018's On Hold and 2020's BREACH both confront the pain of retrospection, saying goodbye to a love that's gone. Big Picture does the exact opposite _ rooted firmly in the present, it traces the narrative of two people trying their hardest not to implode, together. "This album is an observation of the way I think about love, the selfexamination that comes with closeness and the responsibilities involved in being a big part of someone else's small(er) world," summarizes Fenne. "It was written in a place of relative emotional stability - stability that felt unstable because of its newness, but also because of the global context. 2020 was the year of letting go, but we'd all already let go of so much and nothing felt like mine anymore. Writing always did, though, so that's what I chose to do."

ULTRAMARINE VINYL

A gorgeous and gripping portrait of Fenne's last two years, Big Picture was pieced together in an effort to self-soothe. Tracked live in co-producer Brad Cook's North Carolina studio, the album delineates the phases of love and becomes a map of comfort vs claustrophobia. Though its creation took place amid personal and global turmoil, the ruminative yet candid Big Picture is Fenne's most cohesive, resolute work to date, both lyrically and sonically. "This isn't a sad album _ it's about as uplifting as my way of doing things will allow," she says. "These songs explore worry and doubt and letting go, but those themes are framed brightly." With confidence and quiet strength, each track provides an insight into Fenne's ever-changing view of love and, ultimately, its redefinition _ love as a process, not something to be lost and found. While the album was written alone in Fenne's Bristol flat - a fact intentionally reflected in its compact sonic quality - Big Picture was transformed from a solitary venture into a unifying collaboration during the recording process when she was joined by her touring band, Melina Dutere of Jay Som (mixing), Christian Lee Hutson (guitar and co production), and Katy Kirby (vocals). Notably, these 10 songs are Fenne's first and only to have been written over the course of a relationship; 2018's On Hold and 2020's BREACH both confront the pain of retrospection, saying goodbye to a love that's gone. Big Picture does the exact opposite _ rooted firmly in the present, it traces the narrative of two people trying their hardest not to implode, together. "This album is an observation of the way I think about love, the selfexamination that comes with closeness and the responsibilities involved in being a big part of someone else's small(er) world," summarizes Fenne. "It was written in a place of relative emotional stability - stability that felt unstable because of its newness, but also because of the global context. 2020 was the year of letting go, but we'd all already let go of so much and nothing felt like mine anymore. Writing always did, though, so that's what I chose to do."

Tape

A gorgeous and gripping portrait of Fenne's last two years, Big Picture was pieced together in an effort to self-soothe. Tracked live in co-producer Brad Cook's North Carolina studio, the album delineates the phases of love and becomes a map of comfort vs claustrophobia. Though its creation took place amid personal and global turmoil, the ruminative yet candid Big Picture is Fenne's most cohesive, resolute work to date, both lyrically and sonically. "This isn't a sad album _ it's about as uplifting as my way of doing things will allow," she says. "These songs explore worry and doubt and letting go, but those themes are framed brightly." With confidence and quiet strength, each track provides an insight into Fenne's ever-changing view of love and, ultimately, its redefinition _ love as a process, not something to be lost and found. While the album was written alone in Fenne's Bristol flat - a fact intentionally reflected in its compact sonic quality - Big Picture was transformed from a solitary venture into a unifying collaboration during the recording process when she was joined by her touring band, Melina Dutere of Jay Som (mixing), Christian Lee Hutson (guitar and co production), and Katy Kirby (vocals). Notably, these 10 songs are Fenne's first and only to have been written over the course of a relationship; 2018's On Hold and 2020's BREACH both confront the pain of retrospection, saying goodbye to a love that's gone. Big Picture does the exact opposite _ rooted firmly in the present, it traces the narrative of two people trying their hardest not to implode, together. "This album is an observation of the way I think about love, the selfexamination that comes with closeness and the responsibilities involved in being a big part of someone else's small(er) world," summarizes Fenne. "It was written in a place of relative emotional stability - stability that felt unstable because of its newness, but also because of the global context. 2020 was the year of letting go, but we'd all already let go of so much and nothing felt like mine anymore. Writing always did, though, so that's what I chose to do."

After 36 years without singing one word, unforeseeable tragedy and its consecutive challenges made Rico Friebe finally find his voice, suddenly and fluently starting to write songs full of intimacy and subtle storytelling – now presented on his debut singer album „Word Value“!

Processing the encounter with a special person and the lasting aftermath, all songs are perfused by an emotional sincerity and serenity, dealing with a rise and fall of depression and hope while furthermore exploring forgotten chasms and grievances from his further past.

„Word Value“ is tracing an arc as the first of four albums that are deeply connected, based on one another, followed next by the second LP „Faces Meets“ later in 2023.

In times of fast rising technology, artificial intelligence, social deconstruction, inflation of language and morality, the most basic and natural human needs haven't ever changed – re-find them while closing your eyes, opening your soul and putting on „Word Value“...

LTD. 180g WHITE LP + CD + TAPE + DOWNLOAD-CODE (INCL. UNRELEASED BONUS SONG) BUNDLE!

After 36 years without singing one word, unforeseeable tragedy and its consecutive challenges made Rico Friebe finally find his voice, suddenly and fluently starting to write songs full of intimacy and subtle storytelling – now presented on his debut singer album „Word Value“!

Processing the encounter with a special person and the lasting aftermath, all songs are perfused by an emotional sincerity and serenity, dealing with a rise and fall of depression and hope while furthermore exploring forgotten chasms and grievances from his further past.

„Word Value“ is tracing an arc as the first of four albums that are deeply connected, based on one another, followed next by the second LP „Faces Meets“ later in 2023.

In times of fast rising technology, artificial intelligence, social deconstruction, inflation of language and morality, the most basic and natural human needs haven't ever changed – re-find them while closing your eyes, opening your soul and putting on „Word Value“...

Tape

After 36 years without singing one word, unforeseeable tragedy and its consecutive challenges made Rico Friebe finally find his voice, suddenly and fluently starting to write songs full of intimacy and subtle storytelling – now presented on his debut singer album „Word Value“!

Processing the encounter with a special person and the lasting aftermath, all songs are perfused by an emotional sincerity and serenity, dealing with a rise and fall of depression and hope while furthermore exploring forgotten chasms and grievances from his further past.

„Word Value“ is tracing an arc as the first of four albums that are deeply connected, based on one another, followed next by the second LP „Faces Meets“ later in 2023.

In times of fast rising technology, artificial intelligence, social deconstruction, inflation of language and morality, the most basic and natural human needs haven't ever changed – re-find them while closing your eyes, opening your soul and putting on „Word Value“...

The third EP from cult producer M.O.O.N finally gets a vinyl release rounding off a triple-release month alongside the represses of the eponymous debut EP and Particles EP.

A more brooding offering finds M.O.O.N exploring a deep house avenue with three tracks themed around ideas of driving through the city at twilight.

All tracks have been remastered by Brendan Zacharias aka Assembler Code giving the EP a new level of punch in the club and on home hi-fi.

“Shambly Television Personalities/Swell Maps style earworm indie rock.” Brooklyn Vegan

“RIPPER! Melbourne’s TERRY return to complete a hat trick of three albums in three years (TERRYilogy?) that leaves the piss streak that is the rest of indie pop in 2018 dribbling down its own leg in the dust.” 8/10 CLASH

Call me Terry! It’s been a hot minute since we last heard from Terry, what’s he been up to? Five years on from their last album, ‘I’m Terry’, the Australian post-punk quartet proudly present their new record, ‘Call Me Terry’, for release on April 14th 2023.
Terry is made up of pairs Amy Hill & Al Montfort, and Xanthe Waite & Zephyr Pavey who started playing together for the fun of it in 2016. Seven years, four albums and three EP’s later, Terry is ready to pick up the phone again. Over the past few years Terry have kept themselves busy - but not only with Terry things. On top of numerous releases with alternating side projects (Constant Mongrel, The UV Race, Primo!, Sleeper & Snake, Chateau, Rocky, the list goes on… ) members of Terry have moved interstate, undertaken studies, had children and started new fields of work.
Terry began sharing the demos for ‘Call Me Terry’ online with each other in 2020 - as we all did - before getting together in 2021 at their trusty rehearsal space to record the beds. Overdubs were completed at Terry’s homes over the following year. Lyrically, in true Terry fashion, the record wastes no time in scrutinising Australia’s corrupt, colonial history. They sing it loud and sprawl it across the jacket of this record, highlighting the greed, privilege and entitlement of white, wealthy “Australia” which they won’t stand a second for.
Musically, ‘Call Me Terry’ still has the classic Terry sound; the four vocals singing as one gang, sharp guitars and quirky, burbling synths, the rolling bass and drums, all amidst their clever, dancey pop songs. Since day dot it’s been hard to reference a band that really sounds like Terry, which is always amazing. Truly a sound of their own!
But the sugar on top here may just be some of their finest horn, string and piano performances to date - all of which never feel crowded, cluttered or over-involved. More just excellent, necessary melodies. Rest assured Al still gives his famed Fuzz Factory a workout - and throws his tremolo into the pedal chain. It goes off. Tremolo is the order of the day for Amy and Xanthe too who also embrace the wobble, whilst Zephyr keeps the pulse of their politico-pop anchored.
Terry isn’t afraid to call the shots and Terry isn’t afraid to point the finger. Listen to what Terry has to say.

Red Vinyl

“Shambly Television Personalities/Swell Maps style earworm indie rock.” Brooklyn Vegan

“RIPPER! Melbourne’s TERRY return to complete a hat trick of three albums in three years (TERRYilogy?) that leaves the piss streak that is the rest of indie pop in 2018 dribbling down its own leg in the dust.” 8/10 CLASH

Call me Terry! It’s been a hot minute since we last heard from Terry, what’s he been up to? Five years on from their last album, ‘I’m Terry’, the Australian post-punk quartet proudly present their new record, ‘Call Me Terry’, for release on April 14th 2023.
Terry is made up of pairs Amy Hill & Al Montfort, and Xanthe Waite & Zephyr Pavey who started playing together for the fun of it in 2016. Seven years, four albums and three EP’s later, Terry is ready to pick up the phone again. Over the past few years Terry have kept themselves busy - but not only with Terry things. On top of numerous releases with alternating side projects (Constant Mongrel, The UV Race, Primo!, Sleeper & Snake, Chateau, Rocky, the list goes on… ) members of Terry have moved interstate, undertaken studies, had children and started new fields of work.
Terry began sharing the demos for ‘Call Me Terry’ online with each other in 2020 - as we all did - before getting together in 2021 at their trusty rehearsal space to record the beds. Overdubs were completed at Terry’s homes over the following year. Lyrically, in true Terry fashion, the record wastes no time in scrutinising Australia’s corrupt, colonial history. They sing it loud and sprawl it across the jacket of this record, highlighting the greed, privilege and entitlement of white, wealthy “Australia” which they won’t stand a second for.
Musically, ‘Call Me Terry’ still has the classic Terry sound; the four vocals singing as one gang, sharp guitars and quirky, burbling synths, the rolling bass and drums, all amidst their clever, dancey pop songs. Since day dot it’s been hard to reference a band that really sounds like Terry, which is always amazing. Truly a sound of their own!
But the sugar on top here may just be some of their finest horn, string and piano performances to date - all of which never feel crowded, cluttered or over-involved. More just excellent, necessary melodies. Rest assured Al still gives his famed Fuzz Factory a workout - and throws his tremolo into the pedal chain. It goes off. Tremolo is the order of the day for Amy and Xanthe too who also embrace the wobble, whilst Zephyr keeps the pulse of their politico-pop anchored.
Terry isn’t afraid to call the shots and Terry isn’t afraid to point the finger. Listen to what Terry has to say.

The long-requested repress of M.O.O.N's second EP hits stores this month along with the eponymous debut and Day/Night EPs.

From the sci-fi heart-melter, "Dust", to the wonky bleep of "Plus Four", this is the sound of an artist hitting new heights and finding a rhythm that will become a signature sound.

All tracks have been remastered by Brendan Zacharias aka Assembler Code giving the EP a new level of punch in the club and on home hi-fi.

Kristian Matsson has never remained in one place for very long. Having spent much of the last decade touring around the world as The Tallest Man on Earth, Matsson has captivated audiences using, as The New York Times describes, “every inch of his long guitar cord to
roam the stage: darting around, crouching, stretching, hip-twitching, perching briefly and jittering away…Mr. Matsson is a guitar-slinger rooted in folk, and his songs are troubadour ballads at heart.”

Now, Matsson returns as The Tallest Man on Earth with Henry St., his sixth studio album following 2012’s There’s No Leaving Now, full of “vivid imagery, clever turns-of-phrase, and devastating, world-weary observations” (Under The Radar) and 2015’s Dark Bird Is A
Home, his “most personal record… surreal and dreamlike” (Pitchfork). Henry St. notably marks the first time he recorded an album in a band setting. “My entire career I’ve been a DIY person––mostly fueled by the feeling that I didn’t know what I was doing, so I’d just do everything myself.”

But now, longing for the energy that’s only released when creating
together with others, Matsson invited his friends to come and play.
Nick Sanborn (of Sylvan Esso) produced Henry St., which includes contributions from Ryan Gustafson (of The Dead Tongues) on guitar, lap steel and ukulele, TJ Maiani on drums, CJ Camerieri (of Bon Iver) on trumpet and French horn, Phil Cook on piano and organ, Rob
Moose (of Bon Iver, yMusic) on strings and Adam Schatz on saxophone.

Caroline Polachek released her solo debut Pang back in 2019 after having been the lead singer of the acclaimed band Chairlift for more than 10 years. Immediately upon release Pang received major hype and critical acclaim, but in the years since, it has practically achieved a monolithic status in modern art pop.

Not surprisingly, expectations are huge for her sophomore album Desire, I Want to Turn Into You, but with excellent singles like "Billions" and "Sunset", it is evident that Polachek is a headstrong and original pop star who is here to stay!

Pink Blue Marbled Vinyl

Angelo is an EP, named after a car, featuring nine songs Brijean have crafted and carried with them through a period of profound change, loss, and relocation. It finds percussionist and singer Brijean Murphy and multi-instrumentalist/producer Doug Stuart processing the impossible the only way they know how: through rhythm and movement. The months surrounding the acclaimed release of Feelings, their full-length Ghostly International debut in 2021 which celebrated tender self-reflection and new possibilities, rang bittersweet with the absence of touring and the sudden passing of Murphy's father and both of Stuart's parents. In a haze of heartache, the duo left the Bay Area to be near family, resetting in four cities in under two years. Their to-go rig became their traveling studio and these tracks, along with Angelo, became their few constants. Whereas Feelings formed over collaborative jams with friends, Angelo's sessions presented Murphy and Stuart a chance to record at their most intimate, "to get us out of our grief and into our bodies," says Murphy. They explored new moods and styles, reaching for effervescent dance tempos and technicolor backdrops, vibrant hues in contrast to their more somber human experiences. Angelo beams with positivity and creative renewal _ a resourceful, collective answer to "what happens now?". Angelo the car is a 1981 Toyota Celica they got off Craigslist during their first stint in Los Angeles, where Murphy and Stuart have since settled. "Such a bro-y, `80s dude car, it's been super fun to drive around in a new town," Murphy says. "He's older than us, he's a classic, he's got a story." It is a spiritual vehicle with a cinematic appeal, first dropping them off in an alleyway for the scene-setting intro, "Which Way To The Club." The question is quickly resolved by "Take A Trip" as a cruising bassline mingles with crowd sounds, hand-claps, cuíca hiccups, whip-cracks, even a horse neigh. Brijean have found some club on this cross-dimensional trip - the kind of imagined space or chamber within one's self capable of "shifting a fraction of who you are," says Murphy. They wrote the track with the simple intention to be "as free as we could be," adds Stuart, likening the flip on the B section to a realm unlocked: "What if the world changed completely? You open the door to a new room." Next is "Shy Guy," a motivational anthem for the wallflowers among us. Murphy sets up the daydream: "We are in junior high, we're on the dance floor, what's going down, who is dancing, who is not, how are we gonna make them dance?" The narrator, the MC, hypes up the room as conga-driven rhythms bounce between languid synth and guitar lines. "Show me how to move...I feel something...I know you feel it too," Murphy sings sweetly, calling back to the opening lines of Feelings, and this time the audience chants it back. It is easy to picture Brijean performing this one - something they only got to do a handful of times until more recently, opening shows for Khruangbin and Washed Out, an experience they found informative. Murphy explains, "It was inspiring to be out there and let loose more. To see how people can expand their expression on stage gave me more liberty with how I viewed my musicianship. My role for so long was to be a backup percussionist, so why would I ever leave the drums, you know? But then after playing all these runs, you see these artists and realize you can, you have permission." "Angelo" and "Ooo La La" deliver the danciest stretch in Brijean's catalog to date. The title track adopts a deep house pulse replete with strings, hi-hats, and kicks. The latter opts for a funkier groove that foregoes verses in favor of warbled hums and extended breakdowns. What follows is perhaps the duo's dreamiest run, a comedown initiated with the honey-hued interlude "Colors" drifting into "Where Do We Go?", a tropicália reverie where Murphy contemplates the passage of time and space. It all culminates in "Caldwell's Way," a fond farewell to their Bay Area community - "a part of my life that I knew couldn't come back," says Murphy. Above shimmering organ sounds, lush strings, and the birdcall of their former neighborhood, she wistfully articulates the uncertainty of moving on by remembering the characters dear to them. There's the wisdom of their neighbor, Santos, who refused payment when helping them move out: "I'd rather have 100 friends than 100 dollars." And the song's namesake, Benjamin Caldwell Brown, a friend and club night cohort for many years. "I'm only miles away, maybe I'm just feeling lonely," the line resigns to warm nostalgia, and "Nostalgia" runs the closing credits to this healing and transportive collection.

Some of the best musical moments from the anime series (one of the most famous adaptations to one of the best selling manga of all time/much beloved anime franchise). Featuring the main theme 'Number One', the soundtrack also contains other musical highlights from the series by Japanese superstar composer Shiro Sagisu, who has also scored 'Attack On Titan', 'Shin Godzilla' and the full 'Evangelion' series to name a few. This is a double 140gm translucent blue vinyl set in a double sided gatefold sleeve with gloss varnish. Full colour expanded inlay with images from the show and notes from composer Shiro Sagisu. Marketing activity. Stock is limited/allocated.

In his South London flat, James Howard gestures apologetically at the mess of books, lined A4 paper and stationary at his desk. “I butcher poetry for a living,” he explains, “It isn’t a pretty job, but someone has to do it.” This being 2022, every emerging musician needs a side-hustle to keep the house warm. In the daytime, our host writes study guides to help teachers teach poetry to pupils who would rather be elsewhere. “I make sure the poems are clinically dead by the time they reach the schools.”
An explanation punctuated by a mildly contrite shrug makes you want to lean forward and remind Howard about some of the stuff other people are doing for a living. And, more to the point, aren’t doing. Which brings us to the real matter at hand. For Howard, foregrounding his own songs hasn’t always come naturally. An enthusiastic collaborator, he made two well-received albums with his previous band Blue House and played with the likes of Rozi Plain, Alabaster dePlume and his wife Dana Gavanski, as well as running his own music night with Sam Tyler in London, Incredible Society. It’s important to mention these creative hook-ups because Howard feels that, in one way or another, they all helped to give form and shape to the lilting lunar lullabies that would ultimately comprise his ravishing solo debut Peek-A-Boo.