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“Dropsy? Now there’s a name I have not heard in a long time…” Well, that makes one of us, because composer Chris Schlarb’s soundtrack hasn’t left my rotation in the years since I first played developer Jay Tholen’s brilliant wordless adventure. I remember the exact moment I decided to reach out to Chris Schlarb about a vinyl release: I was playing the game with my then six year old daughter, scouring the street as Dropsy for clues, as the sultry jazz of Kierkegaard’s Neon Lights guided the tone in the background. My daughter took her hand off the mouse for a second and said, “This music…” she paused, finger to her chin, ”… is really good.” That was good enough for me. Originally released as a 1LP in 2015, the soundtrack has been long since out of print and quite difficult to get your hands on. Especially at a decent price. Believe me, I’ve tried. So I decided to rectify that, and maybe go the extra mile as well, because if there’s a soundtrack that deserves it, Dropsy certainly qualifies. – A deluxe 2LP release of the Dropsy soundtrack – Exclusive liner notes by Clint Basinger, host of the LGR (formerly Lazy Game Reviews) YouTube channel – Side A & B containing 28 tracks of the original soundtrack by Chris Schlarb – Side C containing 17 rare demo tracks from the Dropsy sessions – Side D containing the full Eternal Hug EP by game creator Jay Tholen (Hypnospace Outlaw, Slayers X: Terminal Aftermath: Vengeance of the Slayer), for the first time on vinyl – Cover design by Jay Tholen – 3D art design by Crisppyboat

Die britische Sängerin, Songwriterin, Multi-Instrumentalistin und Produzentin Fabiana Palladino veröffentlicht am 5. April 2024 ihr selbstbetiteltes Debütalbum bei Paul Institute / XL Recordings. Das Album entstand nach dem Ende einer langen Beziehung und setzt sich mit komplexen Fragen zu Liebe und Einsamkeit in Beziehungen auseinander. Das Ergebnis sind 10 Songs, die sich von den großen R&B-, Soul-, Pop- und Disco-Studioproduktionen der 80er und 90er Jahre inspirieren lassen, gefiltert durch einen modernen Blinkwinkel. Es ist eine intime Platte, die die Toughness und Weiblichkeit von Janet Jackson auf ihrem 1986er Album "Control" und Annie Lennox" bei "DIVA" ausstrahlt, das klassische Songwriting von Kate Bush und Joni Mitchell aufgreift und die romantischen Motown-Duette von Marvin Gaye und Tammi Terrell unterläuft, um die Normativität in Beziehungen zu hinterfragen. Das von Palladino selbst geschriebene und eigenproduzierte Album enthält Beiträge von renommierten Musikern und engen Freunden, darunter vom Mitbegründer des Paul Institute, Jai Paul, dem legendären Session-Bassist Pino Palladino (Fabianas Vater), ihrem Bruder und Yussef Dayes-Bassisten Rocco Palladino, dem bekannten Schlagzeuger Steve Ferrone sowie Streichern von Rob Moose. Fabiana Palladino hat in den letzten Jahren als gefragte Session-Musikerin für Acts wie Jessie Ware, Sampha, SBTRKT oder Laura Groves gearbeitet, während sie in ihrer eigenen Musik intensiv nach Pop-Perfektion strebt. Im vergangenen Jahr war sie Teil von Jai Pauls Band für sein lang erwartetes Live-Debüt, sowie Support-Act der gefeierten Shows.

A 2024 edition of Terry Riley's »Descending Moonshine Dervishes,« originally recorded live in Berlin in 1975 and released by Kuckuck in 1982. This will be the first time the remastered album has been available since 2016.

Using just intonation and a modified organ, Riley conjures forth a rich and layered sound that challenges the Western ear, reflecting his associations with Indian classical singer Pandit Pran Nath and La Monte Young, whose Well Tuned Piano was well underway. »Descending Moonshine Dervishes« is a virtuosic and kaleidoscopic performance, standing as one of the finest works of a revolutionary composer and musician at the height of his powers.

»Descending Moonshine Dervishes« dates from 1975 and it belongs to a larger Dervish series of compositions whose origins predate Riley’s two signature works of minimalism, »In C« (1968) and »A Rainbow In Curved Air« (1969)… the piece is structured around just intonation, which stretches the listening experience into new areas. Played on a Yamaha organ with a bit of tape delay that allows Riley to duet with himself, the music of »Descending Moonshine Dervishes« is an ear expansion that goes through skittering arpeggios and long, droning notes that indicate something of the many levels that it operates on. – Louise Gray, The Wire Magazine (March 2017)

California composer Terry Riley launched what is now known as the Minimalist movement with his revolutionary classic 'In C' in 1964. This seminal work provided a new concept in musical form based on interlocking repetitive patterns. It's impact was to change the course of 20th century music and it's influence has been heard in the works of prominent composers such as Steve Reich, Philip Glass and John Adams and in the music of rock groups such as The Who, The Soft Machine, Tangerine Dream, and many others. His hypnotic, multi-layered, polymetric, brightly orchestrated eastern flavored improvisations and compositions set the stage for the prevailing interest in a new tonality. Riley has worked with Kronos Quartet, La Monte Young, members of Fluxus, Chet Baker, Pandit Pran Nath, his son Gyan Riley, choreographer Anna Halperin, and many others over the years.

The music industry, once revered as a realm of artistic expression and creativity, has gradually transformed into a breeding ground for commercial nonsense. The rampant commercialization of music has resulted in an environment where genuine talent often takes a backseat to profit-driven motives. It’s high time we unmask and challenge the prevailing commercial bullshit that plagues the music scene today.

In the midst of all this commercial nonsense, it’s essential to recognize that there is a thriving underground and independent music scene where authenticity and creativity still flourish. Listeners can play a vital role in reshaping the music industry by supporting independent artists, seeking out diverse sounds, and rejecting the homogenized offerings of major labels.

To combat the commercial bullshit in the music scene, we must prioritize artistry over profit, diversity over uniformity, and creativity over conformity. Only by championing these values can we hope to revive the music industry as a bastion of authentic expression and genuine talent, free from the shackles of commercial exploitation.

Speedcore trippant. Volutes et kicks ne touchent pas terre.. On s'envole, les pieds décollent, les bassins s'agitent... quelque chose passe dans les bras... légèreté de la violence... Un petit son electro speedcore !

Brian Jackson dives into the world of Alfonso Lovo

Legendary musician Brian Jackson, known for his pioneering work in neo-soul and modern hip hop, has lent his extraordinary talents to retouch two tracks from Alfonso Lovo's remarkable album "Terremoto Richter 6:25 Managua.”

As one-half of the influential duo Gil Scott-Heron and Brian Jackson, Brian began his career at an early age, having recorded nine albums by his 27th birthday. He is widely celebrated as a musical innovator, with New Yorker Magazine recently hailing him as “a musical pioneer” in a 2022 article.

Alfonso Noel Lovo, moved by the devastating earthquake that struck Managua on December 23, 1972, recorded his first album in New Orleans the following year. "Terremoto Richter 6:25 Managua" stands as a testament to resilience and artistic fusion, featuring a stunning blend of psychedelic rock, mazurka, jazz, Louisiana blues, and African folk.

Despite having never released his own album, Terry Marshall remains one of the most ubiquitous and influential individuals in modern music; this of course comes from the guitar amplifiers which bear his name. Debut album ‘Living The Blues’ by Terry Marshall and Friends, including Laurence Jones, Emma Wilson, Alice Armstrong, Krissy Matthews and Zoe Schwarz as well as an array of talented blues musicians, the album is the embodiment of a lifetime of dedication to music and a revitalising take on blues classics.

Crystal Clear Vinyl. Hamartia is the fatal flaw leading to the downfall of a tragic hero or heroine. A narrative tool often determining a character's arc (or fate) underpinning many of our favorite stories in film, literature, and music. Meredith Johnston, the singer-songwriter-producer at the heart of indie project Warm Human, borrowed the term for the title of her latest LP, and her first for Sooper Records. Hamartia finds Johnston probing the depths of her fatal flaw, self-hatred, without skimping on the catchy hooks and bracingly frank lyricism. "This whole album is pop music for deranged people" she says. Johnston wrote and produced the album with Chicago composer and producer Conor Mackey (Lynyn, Monobody, NNAMDI). Together, the pair crafted an album that draws liberally from its diverse influences, incorporating down-tempo electronics, drum n' bass, indie rock, synth pop, and elegant, unstructured soundscapes. Hamartia finds humanity in electronic music, with warm synths, guitars, and shape-shifting vocal stacks frequently creating a one-woman choir. Hamartia is buoyed by the best music of Warm Human's career, from the probing "Father Father" to the insightful "My Moods!!" and the musical dish session "Love 2 Hate." Inspired by Portishead, Sheryl Crow, Frou Frou and others, the LP can be both wryly funny and incisive in the span of a single couplet ("I asked for space and you gave me the moon," she sings on "My Moods!!" adding, "I'm riding shotgun with my shit attitude"). Hamartia is a perfect pop soundtrack for our current moment because its irresistible hooks and quotable lyrics are the opposite of empty escapism-they're an invitation to acknowledge your own struggles and flaws. To get in touch with your hamartia. Recommended if you like: Imogen Heap, Sylvan Esso, Madonna, Portishead, Frou Frou, Sophie, Postal Service, Sheryl Crow.

A unique, dreamy Dutch-language indie-folk record reminiscent of Jessica Pratt and Joni Mitchell.



Catbug is the project of singer-songwriter Paulien Rondou who grew up in Duisburg, a Belgian village near Tervuren. After completing her 'Cabaret' studies at the Antwerp Conservatory, Paulien moved to her mother and stepfather's little farm in Westmalle. Although she left without any specific goal in mind, it didn't take long for the first wonderful songs to originate in this environment.

Catbug released her debut album Universe back in 2018. A record that immediately put her on the map within the Belgian music landscape. "Since the release of King Fisher, Catbug's first song, we have been sitting here on the edge of our seats", Radio 1 wrote about it at the time. Despite the fact that her musical career had clearly taken a direction, Paulien did not feel comfortable living the big city life. That said, it didn't take long before she left Antwerp behind to run the organic farm De Paardebloemhoeve in Malle. As it turned out, that farm was the ideal habitat for Paulien to work on her first Dutch-language album slapen onder een hunebed peacefully and quietly. This album was also well received in Belgium and was even picked up by Japanese label Think!Records. In one way or another, Catbug's music reached the Japanese label and, upon their request, several hundred vinyls were immediately sent out to Japan. In no time, all vinyls were sold out. Despite the fact that Catbug's lyrics are sung in Dutch, the people in Japan love her music.

Now, three years later, there's the brand new album Musjemeesje. The album has become an ode to all the birdson and around the farm, which again served as the breeding ground for all the new songs. One winter day in 2021, Paulien was given a pair of binoculars as a gift and decided to learn as much as she could about the birds on and around the farm. Soon she learnt to recognize the distinctive sounds and ways of flying of many different species, and a separate story began to form with each bird. There was something in them that Paulien identified with, and she wanted to try to map it out. This is where the idea was born of writing an album of songs about birds. "Birds always manage to uplift and inspire me with their crazy habits and their twittering. They reach out to the child in myself", Paulien added herself. For this album, Paulien worked with producer Aiko Devriendt again, who also did the mix. They recorded the album in pianist Guy Van Nuyten's studio and just like they did the last time, a conscious choice was made to keep it sober. Less is more. This resulted in a unique, dreamy Dutch-language indie-folk record reminiscent of Jessica Pratt and Joni Mitchell.

SITW’s fourth studio album is a satirical celebration of mistakes. A joyous lambasting of everyone and everything that’s wrong in the world, against the real-time backdrop of global uncertainty, corruption and political unrest.

A London Charivari. Rough Music. A gleeful old-fashioned cancelling. A Chaunter’s delight. 14th Century recording demons collecting mistakes in a sack. Women mugging rich merchants. Nettles being pissed on. Shit food at Lent. A terrible plan. An undoing. The aftermath of a car crash. Catching people doing something they shouldn’t. Nursery rhymes reimagined as death threats. Behind the sarcastic acerbic delivery, Nicola Kearey and Ian Carter convey thoughtful, essential interpretations encouraging us all to check ourselves, through the multi-layered music of cities through time.

This is about as far away from pastoral folk music as you can get.

In their typical wry city-weary style, a beady eye is cast over those committing wrongs in plain sight, with Kearey narrating a series of tales of people fucking up, or being fucked up, with some brief respite in Lavender - one of London’s oldest street melodies - the album being named after the 14th Century story of Tittivilus, the recording demon, who collects scribes’ mistakes (pokes) and the idle chatter of the “liars with their hairy tongues” congregation.

Despite this seriousness, the album’s working-class dry gallows humour carries a stoic “if you don’t laugh you’ll cry” feeling amongst the corruption, scandals and barefaced lies we all observe on a daily basis, with a warning that “only you can fix your deficits” and “it’s your words and deeds that matter…and let me tell you, they speak volumes”.

The core of the record imagines a sound of traditional London music, where the musical continuum is unbroken by the population decimated by the world wars, or by gentrification and social cleansing that has forced communities apart, and yet absorbs all the influences of all the communities that call London their home.

Carter and Kearey attempted sessions at The George Tavern, Whitechapel, and in Spitalfields, at Denis Severs’ House, and a restored weaver’s townhouse, carrying the aesthetic of the record in their heads as they moved from location to location, before settling into an old factory building and their own workshop. The resulting sparse and economical sound is harsher, more present, more essentially them. It is a mighty haranguing that demands your attention.

What we hear on SICK! is the most realized version of Earl to date: a man with the same wandering spirit as before, but with a newfound command of his celebrity. This Earl is far more serene and grounded in who he really is. You feel his curiosity when speaking with him; his thoughts tend to land broadly and touch on everything from African literature to spiritual jazz and ’90s hip-hop before centering on himself. When asked to unpack his own narrative, he tends to speak in terms of we and not I, leaning on the group aesthetic to explain his own rise. The emphasis isn’t surprising, given Earl’s recent love of fellowship, but for an artist who made his name as a loner, his optimism is refreshing to hear. For an album born out of seclusion, SICK! is a moving ode to evolution. As always, Earl is a testament to the healing powers of honesty and self-awareness.

By 1973, Herbie Hancock already had both feet planted firmly in the future — some 50 years based on the vast, electronic funk he crafted during this period. How could he have known that this music would soundtrack block parties in the ‘80s and give ground to a burgeoning hip-hop culture? How could a man so steeped in the history of jazz be so untethered to form and genre that he created a sound all his own? Did he envision a world much like we’re living in now, where smartphones dictate our lives and musical compositions co-mingle without adherence to artificial marketing terms? Herbie likely wasn’t that prescient, but I wouldn’t doubt his genius. Based on the interplanetary trance funk of Sextant, his 11th studio album, such foresight wouldn’t be surprising. Then and always, Herbie was the master of the road less traveled. He was the light guiding his peers where they needed to go.

For Crown of Thorns, the dynamic, ground-breaking follow-up to 2021’s Royal Destroyer, The Crown made distinctly different creative choices to ensure that the LP’s 10 songs would stand as a unique collection. “For me, Cobra Speed Venom and Royal Destroyer are like siblings,” says guitarist Marko Tervonen. And while Royal Destroyer was termed a “a ridiculously catchy album,” The Crown wanted to “make sure that we would take a step forward, get a bit more out of the comfort zone on Crown of Thorns.” It's very few bands who have a revered and established career—The Crown celebrated their 30th anniversary in 2020 their first eight years spent as Crown of Thorns—yet up the ante continually. With 2018’s Cobra Speed Venom the band reached the same lofty heights as their 2002 landmark release, Crowned in Terror. And with the barbaric Royal Destroyer, and now, 2024’s powerful and unique Crown of Thorns, the metal vets rage with a rekindled fire and ferocity while honoring their roots.

In a simultaneous act of defiance and impishness, Sham Family are etching their name in the wet concrete out front of the establishment. Hailing from the vibrant music scene of Toronto, Canada, the dynamic quartet is emerging as a prominent voice in the contemporary post- punk landscape.

To know Sham Family is to witness them perform live in the flesh. From the very first note, the room teeters between collective catharsis and a sort of beautiful, focused chaos. Blisteringly loud and remarkably lush, their live show is not only a testament to the meticulous craftsmanship of their music, but a downright physical feat. Broken strings, sweat, and the occasional minor lesion are collateral damage that only serves to strengthen their ultimate goal: deliver the loudest, most captivating show utte rly possible. Catching the attention of the newly formed Wavy Haze Records, spearheaded by indie icons Born Ruffians, Sham Family were the first non-Ruffians to join the label’s esteemed roster.
In 2022, they released their debut self-titled EP: a strikingly raw introduction to their leave-it-all-on-the-floor brand of shoegazey punk. The release quickly gained traction, propelling Sham Family onto stages across the United States and Canada. Now, Sham Family are gearing up to release their highly-anticipated full-length album, A Deaf Portrait of Peace, in 2024. Produced by the renowned Graham Walsh (METZ, Debby Friday, Preoccupations, Alvvays), the record promises to embody the propulsive ener gy of their live performances while venturing into uncharted sonic territories.

Not much to say on this one, Mattias Ostling aka Rolando Simmons is back on AF. You should know what you're in for: undeniably beautiful acid stuff, somewhere between propulsive and melancholy, lush but fidgety 4/4 beats...'Terrestrial Ultra-Doula EP' is a 4-track adventure that deftly dabbles in rave, IDM, techno and beyond in classic RS style. In his own words "Every completed project is the failure of an original idea and the triumph of a successful adaptation. These tracks were inspired by a dream and my subsequent reflections on it. Playing music for others is an act of alchemy that can alter thought patterns and life paths to varying degrees. It is a formidable power to wield." Ostling is one of those artists who works in a specific continuum but adds his own touch here and there--and when it comes to reverb-drenched, acid-lashed, wound-up IDM pitter-patter, not many can do it as well, or as elegantly, as this. Word, you're gonna need this one.

* From Karma Recordings comes their eigth EP. They are continuing their trend of getting their heroes from the 90’s to remix the original sound. The massive rave icon Ellis Dee, one of the biggest producers on the planet brings his unique blend of piano sounds to the hands in the air anthem Warehouse Crew by DJ KOS, as well as featuring the original. DJ Ande has gone a little different with his hardcore tune Trip Home Pt 1 which is a nod to the classic hardcore tunes Trip to the Moon by Acen. To round things off web ring back DJ Terrace to hammer home a wicked tune in Top Gun which makes this another belter of an EP not to be missed.

2024 Repress
For Frenzy's third release, and the first solo release, the Uruguay-based William Arist is introducing us to his world of 'tribal techno'. Hailing from the city of Montevideo, this Southern-American-born artist already is a talent to watch overseas. Through their like-minded vision of electronic music, William bonded strongly with our Amsterdam-based Frenzy crew over the last couple of years. This warm connection evolved into Frenzy 03 - showcasing pure dance floor eclecticism that only William can deliver, including two remixes by no other than VIL and rising star Kenji Hina aka Alarico.

The A side instantly kicks off at full good vibe-throttle with two productions that reminisce about those iconic Love Parade moments during the very first days of rave culture. Balancing on the edge of house and techno, 'Chaka Chaka' loops the listener into a straight sense of movement. With rhythmic drums and uplifting vocals, 'Days' feels like stepping into an after hour dance-floor at the beach while the morning sun rises through the exotic vegetation. On the B side, William leans towards a more hypnotic sound. With a great tempo and a dark yet subtle mood, 'Tero' sets the tone for those murky clubbing moments where the boundaries dissolve and bodies merge. Slowly climbing out of the deep, 'Gultural' stays on the same energy level while adding dubby hints and a taste of freshness.

To top it off, the release is provided with two remixes that leave no room for interpretation. Portuguese producer VIL turned 'Chaka Chaka' into a true peak-hour beast while Italian multi-talent Alarico shows his versatile skill set with a speedy house remix of 'Gultural' under his Kenji Hina alias.

Dj Terrace absolutely smashed it with the first in his "postal" trilogy - the much loved "Tracked" EP. He follows it up with "Signed" and once again brings his usual clever mix of old skool jungle and modern production, hitting a place which few artists manage to reach, keeping it both authentic and underground. A 4 tracker with no filler, Signed is an essential part of any modern jungle Djs collection...