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Mannequin Records is thrilled to announce the upcoming release of Chromium Industries, a double LP (MNQ 162) capturing the innovative spirit of two pioneers of electronic music: Andrew Lagowski and Paul (Howie D) Howard. This long-anticipated album marks a return to the seminal sounds of the Chromium Industries label, which emerged as a crucial platform for boundary-pushing techno and electronic music in the early 1990s.


Andrew Lagowski, a name synonymous with exploration in electronic music, has been at the forefront of sound innovation since the early 1980s. Known for his work under various aliases, including Lagowski, Legion, and S.E.T.I., his early output in experimental and industrial sounds paved the way for his later techno-focused ventures. Albums like Knowledge (S.E.T.I.) and Nadir (Lagowski) highlighted his pioneering approach to unconventional sound sources and production techniques. In the 1990s, his work with Chromium Industries brought him into the techno spotlight, with a series of influential 12” singles that helped shape the electronic music landscape. With over 60 albums and 10+ singles to his name, Lagowski’s versatility and dedication have garnered him a loyal following and lasting influence across genres.


Paul Howard, aka Howie D, brought his DIY ethos from the punk scene of the 1970s into electronic music. As a founding member of The Frames and co-founder of the Brain Boosters and Spacematic labels, Howard has consistently pushed boundaries. His early forays into hip-hop saw him release the genre-pioneering jazz-rap track Miller Light as Fission. The transition from punk and hip-hop to electronic music was a natural one, culminating in his creation of Chromium Industries after a fateful night hearing Lagowski’s Vermilion at a London party. The label brought some of the most unique techno releases to the scene, with tracks like Blue Anomaly causing near-riots on the dancefloor. Since then, Howard’s work has evolved to include multiple aliases, including The Legend That Is, Phase Collective, and Skulpture.


Chromium Industries 2xLP will be available for purchase from January 2025 through Mannequin Records and select distributors.


This is an essential release for collectors, DJs, and anyone who reveres the legacy of 1990s techno and early rave.

It took a village to create Le Motel’s Odd Numbers / Số Lẻ. Beneath its pulsing, shimmering tones, the record is alive with the sounds of everyday life—purring mopeds, idle whistling, the din of kitchens and whisper of rain, voices joyful and contemplative, scenes of bustling cities and domestic intimacy.

Le Motel—who runs the Brussels-based record label Maloca—gathered sounds, photographs, and videos while traveling in Vietnam in 2023. From Hanoi he ventured to Hmong communities in the mountains near the border with China, building out a network of contacts gathered from friends and friends of friends. But Odd Numbers / Số

Lẻ—which takes its title from traditional Vietnamese numerological beliefs and customs—is wholly unlike the extractive product typical of exploitative modes of Western tourism; the album’s final shape was deeply dependent upon the participation of the people the artist met in Vietnam.

Back in Brussels after his travels, as Le Motel began working with his materials, he sent early drafts to his contacts, inviting their input. This back-and-forth eventually yielded a dynamic collective effort in which nine of the album’s 15 tracks feature multiple composer credits. Among the album’s diverse collaborators are Yvonne Quỳnh-Lan Dươn, an educator and ethnomusicologist; Chi Chi, the daughter of a Hmong shaman; and Phapxa Chan, who contributes three poems inspired by landscape and Le Motel’s own music (and, in one case, psychedelics).

The result is an album that is not about making sound, broadcasting it as a one-way communication, but instead about the empathic practice of listening—about listening as an integral and even ethical part of musical creation, even (especially!) when that music is created on a computer, rather than conjured by a group of players sharing space in real time. It’s an album that adopts many of the traditional trappings of ambient music while reminding us of the importance of intentional modes of creation. Brian Eno famously said that ambient music must be as ignorable as it is interesting, but Le Motel’s Odd Numbers / Số Lẻ suggests, to the contrary, the richness of experience available to us should we make the effort to open our ears.

Complementing the album, Le Motel’s Odd Numbers / Số Lẻ also takes the form of a multimedia exhibition including photographs, video, and text-based works created in collaboration with Belgian designer and programmer Antoine Jaunard and Vietnamese poet Phapxa Chan. The exhibition is on view from January 23 until March 2, at Brussels’ 254Forest gallery, as part of Photo Brussels Festival 2025.

"Girl Missing" ist das zweite Album von Albertine Sarges, der einzigartigen Berliner Künstlerin, die bereits mit Holly Herndon, Colin Self, Kat Frankie und B O D I E S zusammengearbeitet hat und Teil des italienischen Synthwave-Duos Ostia ist, und folgt auf Albertines gefeiertes Debüt von 2021, "The Sticky Fingers". "Girl Missing" lädt die Zuhörer zu einer intimen Erkundung der Schwesternschaft, der Widerstandsfähigkeit und der Überwindung von Trauer ein und geht dabei mit einer großen Portion Positivität und Ermutigung für das hervor, was vor uns liegt. Die Entstehung des Albums fand in einer Zeit persönlichen Verlusts statt. Als eine enge Freundin vermisst wurde, schrieb Albertine unveröffentlichte Skizzen, überarbeitete sie und baute langsam ein musikalisches Mosaik auf, das ihr Verständnis von Abwesenheit zum Ausdruck brachte. "Ich habe eine klingende Biografie der Liebe geschaffen", überlegt sie und verwebt dabei die Themen weiblicher Freundschaft. "Girl Missing" entstand zwischen ihrem Aufnahmestudio in Ostberlin und Margate und ist sowohl nachdenklich als auch verspielt, geprägt von Sarges' flinker Stimmakrobatik. Mit ihrem langjährigen Partner Lo Selbo beschäftigte sich Albertine mit komplizierten Klanglandschaften, arrangierte luftige Flötenstimmen und Chöre, "um Platz für Verletzlichkeit zu schaffen", und nahm dann Vintage-Orgeln und E-Pianos auf, um Wärme und Seelenfülle zu erzeugen, "um den Schmerz zu lindern". Albertines Arbeit wird von einem anhaltenden Gefühl der Sehnsucht angetrieben, einer Kraft, die ihrer Musik poetische Lebendigkeit und eine ansteckende Anziehungskraft verleiht. "Girl Missing" oszilliert zwischen dem Philosophischen und dem zutiefst Emotionalen und vermischt Launen mit Schatten. Das Album endet mit einer verspielten Note ("Wie nennt man einen Fisch ohne i? A fsh."), doch im Kern erzählt es eine lebendige, zutiefst menschliche Geschichte über monumentalen Verlust und die Hoffnung auf Erneuerung. Durch das Nebeneinander scheinbar widersprüchlicher Gefühle entsteht ein Hörerlebnis, das noch lange nachklingt, nachdem die Musik verklungen ist.

Enxin/Onyx, the duo of Nicky Mao/Hiro Kone and Tot Onyx (formerly group A), joins Other People with their debut album "In Rupture," capturing the same mesmerizing energy for which their live sets have become known.

“In Rupture” is not painless but in rupture lies possibility. The elasticity of this time pitching us across unknown terrain, revealing new potentialities, eclipsing static being. Whether in breach, collision,shimmer or severance, Enxin/Onyx explores these as occasions for transformation. Peeling back the layers through discord and harmony, exciting the inversion of expectation, towing the listener to depths and back up again to illuminate the senses. At times metallic and feral, at others murky and sharp, each song serves as an offering for all that is in rupture; body, spirit, land, ecosystem.
The opening track “A Void” calls to mind some mutation in its mechanical ecstasy, but for what purpose remains unknown. Even in the near moments of stillness, “Needle Pierces the Threshold” breathes a forceful disquietude. Tommi’s vocals pulling the listener down into some subterranean
madness, to unravel upwards from all sides, flooding the once parched landscape. In “Embers Kissthe Eye”, all of time emerges in one moment, compelling the subject’s gaze towards a new horizon.
The album follows its subjects through exile, exhumation and discovery. Through this process plates shift, fissures are revealed and what once appeared to be indomitable absolutes crack, pointing towards their inevitable collapse. To be in rupture is regeneration, to be in rupture is to return.

Rising indie soul artist Sevens announces the release of his highly anticipated debut album, Sincerely, Sevens, on February 21, 2025. At just 24 years old, Sevens emerges as a compelling voice in the contemporary soul scene, blending indie soul, neo-soul, and jazz into a collection of sincere, heartfelt songs.

With a distinct baritone voice and a gift for storytelling, Sevens explores themes of love, growth, and introspection throughout the 9-track record. His philosophy is simple: less is more. Crafted over a span of three years, much of the album was created in Sevens' bedroom, showcasing his skills not only as a songwriter and vocalist but also as a multi-instrumentalist and producer.

Sincerely, Sevens captures the artist in his purest form—a deeply personal work that touches the soul. From sparse, intimate arrangements to warm, groove-infused instrumentation, the record embraces vulnerability while exuding timeless charm.

The album features contributions from trusted collaborators: Boris Van Overschee (co-producer / Delv!s, Portland) Willem Ardui (additional production / Blackwave.) and David Poltrock (additional keys)

Tobie Speleman expertly handled the final mix, ensuring every note resonated with clarity and purpose.

Reflecting on the album, Sevens shares: “I wanted to feel more with less. I wanted to evoke, I wanted to touch. Parts of me I’ve never gone. It is honest, it is true. It is me.”

With Sincerely, Sevens, the young artist solidifies his position as one to watch—an emerging voice with both depth and authenticity.

Up In Her Room are delighted to announce their first release of 2025, and a return to the label from Oli Heffernan, aka Ivan the Tolerable!

10 new chunks of lo-fi instrumental library-hop - recorded in 2 days in Summer 2024, ‘Nocturnes’ is the first ITT album of 2025, and the first one made solo by Heffernan since ‘Wild Nature’ in 2019.

Known for his genre-defying and boundary-pushing approach to music, Heffernan – who has spent years experimenting with various styles, instruments and production techniques has crafted a collection of tracks that defy categorization. The new album is a sonic tapestry of atmospheric library music, dusty hip-hop beats, and the organic, unfiltered essence of field recordings, all neatly packaged up into a format that allows each element space to breathe.

‘Nocturnes’ weaves intricate layers of samples, loops, and live instrumentation, combining elements of hip-hop, dub, jazz, and electronic music, all while maintaining a sense of urban cinematic flair.

The album is released by Up In Her Room on limited edition black heavyweight vinyl

"In a reality where the sun is neon and the streets are lit with lasers...where the message of love is communicated through soaring synths and haunting vocals, you'll find the music of Causeway"

American synth-wave project, Causeway, is the brainchild of Marshall Watson and Allison Rae.
Through sophisticated downbeat melodrama, lyrical motifs of isolation, and an ultra-vivid wall of sound, the two bring a sizzling synth-laden take on the dream wave genre.

Coming to the fore with support from Italians Do It Better, Causeway released their first full length album 'We Were Never Lost' to immediate acclaim, soon landing spots in tv shows Never Have I Ever, and Riverdale.

Fast forward to the here & now and they've returned with an updated sound and a new label relationship with Manchester's Sprechen, on which their new album 'Anywhere' is welcomed to the fold.

The enigmatic duo has brought forth a reverb drenched cosmic journey across 10 tracks. Where narratives of dark & light are conveyed via emotional synthesizer soundscapes alongside captive melodies and ethereal vocals to take you on a diverse and cinematic listening experience.

Hints of post punk, new wave and 80's noir run throughout the album where influences such as The Cure, Cocteau Twins, OMD and New Order are embraced by Causeway's own unique sonic stylings of electronic music neatly wrapped around each track.

Vinyl Only / Heavyweight Vinyl / Original Glued Prints tip-on by hand on Thick Cardboard 700 gram / 2 Separated parts handily gluing / PVC Outer Sleeve / Insert sheet Q&A with Lloyd Miller by Tony Higgins / Handcrafted silk-screen "Lloyd Miller 1938/2024" on Vintage paper with 100% natural "Persian Blue" color.

Personnel:
Manucher Paydar - Tar Drum
Lloyd Miller - Dulcimer Santur, Oud, Shamisen, Dhol, Tabla
Marilyn Miller - Flute
Tú Trinh Dàm - Voice
Dusdi Siwi Jarn - Voice

Notes:
Made with the intention of exploring and experiencing the various musical and cultural perspectives of a territory as vast as that of Persia, "Near And Far East" is a significant historical document that transcends the restrictive concept of territory but rather inhabits a space of absolute time. The album's content is not just window into faraway places, but a leap into the times and cultures that have now been swallowed up by the incessant movement of globalization and capitalism. Listening to it is turning your ear into the true musical culture of countries whose rapid change has eliminated the cultural peculiarities at their roots. Inspired by his long journeys in Iran, Lloyd Miller takes us on a journey through the instruments and sounds of a time, giving us his interpretations of a musical world that was - and that now remains - an historical document for future explorers who are curious about the mysterious musical arts of the middle and far east. Certainly a holy grail for samplers and loopers who can find exotic panoramas here! (Tony Higgins)

‘Insides is a cracking album of shifting ambient moods, riding on the cusp of technology without forgetting emotive credence’ 9/10 FUTURE MUSIC
Originally released in 2009 Insides is Jon’s third solo album and will be made available from the 18th December 2020 on the Just Music label, following on from his first two Just Music albums, Opalescent and Contact Note. It paved the way for both Immunity (his hypnotic breakthrough solo album) and Diamond Mine (his collaboration with King Creosote) which attracted Mercury nominations and for his recently released fifth solo artist album, Singularity.
The epic Light Through The Veins from Insides, which bookends Coldplay’s Viva La Vida album, is always a crowd favourite and is played by Jon as one of the closing tracks at almost all of his venue and festival shows. Small Memory, also from Insides has been streamed almost 57 million times on Spotify alone where Jon has 355, 462 followers and nearly 2 million monthly listeners.
Cited by The New Yorker as “One of the most celebrated electronic musicians of his generation”, electronic artist, producer and composer Jon Hopkins has forged a reputation for music that marries the dance floor to the devotional, and for live performances that are visceral, generous and charged with a rapt, sensuous beauty.
Jon has remixed artists as diverse as Flume, David Lynch, Moderat, Disclosure, Four Tet, Wild Beasts and Purity Ring. Other projects include collaborations with Natasha Khan of Bat For Lashes and Bonobo, as well as productions for London Grammar and Coldplay. His film credits include his Ivor Novello nominated score for the indie sci-fi classic Monsters, The Lovely Bones (scored with Brian Eno and Leo Abrahams), How I Live Now, Uwantme2killhim? and Rob and Vanentyna in Scotland. He also scored the National Theatre Live production of Hamlet and his work has appeared in many films and adverts.
‘Lilting piano and strings give way to industrial glitch with a calculated force, shifting the mood from tranquillity to terror’ 7/10 CLASH
‘Hopkins is a conjurer, an illusionist, symbolically combining imagery and sounds that shouldn’t work together, creating new dimensions of listening’ KRUGER

Southern-bred, alternative R&B singer-songwriter Mereba artistically embodies self-understanding on The Breeze Grew a Fire, her grandest work and first release on Secretly Canadian. To hone in on this latest album, it was necessary for Mereba to reconnect with her whole many-sided self, from her inner child to her inseparable relationships. Mereba peacefully transmutes her beginnings, looking upon her closest kinships and friendships with a keen understanding of their steadying, inspirational force. Surrounded by the gentle Breeze of these relationships and recollections, Mereba is empowered as both an artist and mother, while also being reminded to nurture her childlike wonder. Mereba gracefully shines on the follow-up to her bounteous 2019 debut, The Jungle Is the Only Way Out. In escaping the Jungle, Mereba faced the paradigm shift of birthing a son in 2021 and getting accustomed to a rapidly changing self-outlook. Mereba's creative output has always relied on her innermost reflections and ideas on whatever was happening around her; but in motherhood, the singer's perspective widened while her inspiration became more focused, and more individually powerful. "Even though I'm fully an adult, I had to grow up in a way overnight when he my son came," Mereba explains. "The process of watching him open up to the world, learn how to engage with the world, it is very tender. I feel like it's the most reminded I've ever been of when I was a child and the first memories I have of life." The transformation brought Mereba to the intimacy of DIY recording sessions, providing an honest and organic foundation to Breeze. Mereba tapped her longtime production collaborator Sam Hoffman to co-assemble the album's rich production, which parallels its folk-like warmth. Although Mereba is a true double Earth sign-Virgo and Virgo rising-the development of Breeze was anchored by experiences and memories that span from Atlanta to L.A., Addis Ababa to Greensboro, an intention that speaks to the album's fluid nature. While nowhere near the end of her musical trek, The Breeze Grew a Fire is a loving, inspiring return to origin, one where Mereba frees a painful past, eases into future possibilities, and goes with life's flow.

Southern-bred, alternative R&B singer-songwriter Mereba artistically embodies self-understanding on The Breeze Grew a Fire, her grandest work and first release on Secretly Canadian. To hone in on this latest album, it was necessary for Mereba to reconnect with her whole many-sided self, from her inner child to her inseparable relationships. Mereba peacefully transmutes her beginnings, looking upon her closest kinships and friendships with a keen understanding of their steadying, inspirational force. Surrounded by the gentle Breeze of these relationships and recollections, Mereba is empowered as both an artist and mother, while also being reminded to nurture her childlike wonder. Mereba gracefully shines on the follow-up to her bounteous 2019 debut, The Jungle Is the Only Way Out. In escaping the Jungle, Mereba faced the paradigm shift of birthing a son in 2021 and getting accustomed to a rapidly changing self-outlook. Mereba's creative output has always relied on her innermost reflections and ideas on whatever was happening around her; but in motherhood, the singer's perspective widened while her inspiration became more focused, and more individually powerful. "Even though I'm fully an adult, I had to grow up in a way overnight when he my son came," Mereba explains. "The process of watching him open up to the world, learn how to engage with the world, it is very tender. I feel like it's the most reminded I've ever been of when I was a child and the first memories I have of life." The transformation brought Mereba to the intimacy of DIY recording sessions, providing an honest and organic foundation to Breeze. Mereba tapped her longtime production collaborator Sam Hoffman to co-assemble the album's rich production, which parallels its folk-like warmth. Although Mereba is a true double Earth sign-Virgo and Virgo rising-the development of Breeze was anchored by experiences and memories that span from Atlanta to L.A., Addis Ababa to Greensboro, an intention that speaks to the album's fluid nature. While nowhere near the end of her musical trek, The Breeze Grew a Fire is a loving, inspiring return to origin, one where Mereba frees a painful past, eases into future possibilities, and goes with life's flow.

It’s written in the Agreement Terms. There’s no getting out alive in Life. And yet, mankind keeps striving for eternal life; through art, through power, through cryogenics, through singularity. In that misguided quest against the inevitable, we all fall into the category of lost travellers. No one is exempt. In that understanding, Confucius MC and producer Bastien Keb offer no misgivings about the destination on the somber “Time Will Come”: Time will come for all of us / try to take your time.

Songs For Lost Travellers is a collaborative album by Con and Bastien Keb that merges unexplored pathways between rap, folk, and jazz into a spiritual triumvirate. Each genre is a balancing force within the record. The result is an album unlike either artist have made previously, possibly unlike any record in existence. Songs For Lost Travellers opens with bedtime stories and fairytales. Both “Tell Me Lies” and “Fairytale” present the creature comforts that trick us into forgetting the truth. Con’s first words spoken are “tell me lies ‘til I swear I can’t remember” over Keb’s lo-fi plucking that feels like it was lifted from a handheld recorder capturing a nursery mobile above a crib. Third track “Time Will Come” resets the album after acknowledging on “Fairytale” there’s “no nourishment in half-truths / no sustenance in eating lies.”

Honest and direct, Con and Keb imbue Songs For Lost Travellers with knowledge and truth from their lived experiences. There is grief hidden in the notes, an inherent sadness that is balanced with an awareness that grief is a protest against the social machinery of remaining numb. The record lingers in a meditative state, unafraid of restlessness and embracing solitude, with the expectation that peace is just as imminent as death.

The production contains a complimentary authenticity. Neither Con nor Keb bothered much with the professional studio in making Songs For Lost Travellers. Instead they opted for the raw state of their home recordings and first takes, matching the intimacy of being alone and reflective in their creative energies. Room static on “Tell Me Lies” makes it feel like you’ve entered their apartments. The immediacy continues on “Gutters,” as Keb plays guitar while watching the tele and Con hums along to the vocal melody in search of the proper pocket for his verse. Someone snaps their finger to mark a cue, but the snap never returns to the mix to keep time.

More drawn to Keb’s recent folk recordings on the Songs For Lilla EP than his funk roots circa Dinking In The Shadows of Zizou or the cinematic soul of The Killing of Eugene Peeps, Con leaned into the spacial freedom he heard in Keb’s lo-fi production cobbled from field recordings and voice notes. Both artists placed their families into the tableau. Con wrote “Little Man” for his son, hoping to add a positive contribution to the canon of parental rap songs. Later, his son appears at the end of “Paramount” to deliver a passage from Kahlil Gibran’s The Prophet. Keb secretly recorded his mum playing saxophone and sampled his cousin playing sax as well. The result is a near-drumless album (save for “Toulouse” and light tapping on “It Would Speak”) in which Keb’s raw production (plus a few sessions with Kofi Flexxx) gave Con a liminal zone, unencumbered by beats per minute, to craft melodies that turn his philosophical rhymes into mantras.

Perhaps there’s a message in the presence of family? It would be one of many. Con and Keb’s reflective, somber approach to Songs For Lost Travellers does not wallow in the mire. Music is action and it’s taking them through a portal to the other side of grief. We are welcome to join (which is also in the fine print of the Agreement Terms), but first there’s a password in the final song, a single request to answer: Tell me what you care about.

Biography by Blake Gillespie
credits

Artikal Sound System is a reggae band based out of South Florida. Founded by Chris Montague (guitar) and Fabian Acuna (bass) in 2012, the band honed their chops backing a series of Caribbean singers. Along the way the boys picked up the insane and absurd keys player Christopher Cope and the heavy footed drummer Adam Kampf before finally trying something a little sonically different with their neighbor, female vocalist Logan Rex. After nearly a decade of playing together the boys sound tight and powerful, creating the perfect foundation for their jazz-influenced singer to dance around on lyrically and literally. What you hear is the sound of friendship, hard work, imagination and the hope to spread their message of love and the importance of having a good time

In Todmorden, the oddly-named market border town in West Yorkshire with a habit for embracing the weird and wonderful, a burst of sunshine is a precious thing. Through the thick of Winter, through every season in fact, the town’s folk are used to the wind and rain, fog and mist. As much a part of the town as the trademark deep valley it sits in, here the lay of the land invites the weather in, just as it does the many musicians, artists, and unique characters that have come to call the place home over the centuries.
Bridget Hayden is one such soul who found a home among these hills. The experimental musician, who invites the ghosts in for the classic folk songs that make up her stunning new album, knows only too well about such weather, how rare and treasured the breaks from it are. Her favourite thing to do in the valley, she says, is “to make the most of every tiny minute of sunshine.”
Such aspirations nearly derailed the recording of Cold Blows the Rain, her new eight-song collection released via the Todmorden- based label Basin Rock. Having hired the town’s Oddfellow’s Hall to record these new songs in the late summer of 2022, Hayden says the weather was so good she ended up basking in every second of it, only moving inside to begin recording when the sun was setting, working deep into the night to make up the time.
There’s a good chance, however, that it had to be this way. The songs that make up Cold Blows the Rain are not made for the sunlight. They come, instead, wrapped in mist and coated with drizzle, those elements shaping the album as much as the voice and the instruments held within, as real but ambiguous as the ghosts that linger in the shadows. The sound of the dark valley floor.
Mostly centred around meditative and experimental improvisation, Bridget’s work to-date has seen her spend more than two decades recording and performing on the underground music scene. She’s also toured internationally both as a solo artist and as part of bands such as Schisms and The Telescopes, while working on various side-projects with the likes of Folklore Tapes.
For all of this sonic exploration, so much of her work has been formed around elements of traditional folk aesthetics and, over time, she began to piece together a collection of reinterpreted traditional songs that she absorbed as a child from her mother: through The Dubliners and Muddy Waters, to Bessie Smith and The Leadbelly Songbook. Harvesting her love for Nina Simone, Karen Dalton, Margaret Barry, and more, Bridget takes these traditional songs and transforms them into something uniquely evocative
"It goes back to the womb,” Bridget says of that connection. “I would not call it a memory as it is so deep within my blood and bones. My mum was the source, she sang all the time, as part of life. So it was a very lulling and natural introduction. It seemed common to hear her singing – unbeknownst to her – in time with a raindrop dripping at the window,” Bridget continues. “I’ve always wanted to do a folk record as I love these songs so much. It comes much more naturally to me to sing other people’s words, especially when they’re as beautiful as these old verses.”
Underpinned by waves of analogue reverb, and led by Bridget’s stirring and weather-beaten voice, the songs on Cold Blows the Rain drift and crawl like low heavy clouds on flat-top hills, shaped by the land. The backdrop is equally as arresting, all subtle gloom cast in shadow, a gentle but pronounced swirling of textures, crafted from harmonium and violin courtesy of The Apparitions (Sam Mcloughlin and Dan Bridgewood-Hill).
“The weather speaks the most eloquently about human loss,” Bridget says, articulating such sentiments. “It’s good to feel enveloped by something so much vaster than ourselves. The rain and the tears all become one.”

Valerio Vaudano joins the roster of Cinthie’s 803 Crystal Grooves sub-label Collective Cuts with his ‘Lose My Mind’ EP.
Valerio Vaudano ‘: ’I'm a fan of Cinthie and feel honoured to release these tracks on 803 Crystal Grooves! This is the kind of sound I mostly love to play and produce at this time: house sound that blend energy, groove and 90s nostalgic melodies with Detroit, Chicago and Italo flavours. this new EP represents me best and explains better than words. The entire EP was produced using a 90s sampler without using a computer, I'm very proud of
the result! I hope you enjoy it!’’ Title-cut ‘Lose My Mind’ leads, laying down crisp saturated drums, crunchy stab sequences, choppy vocal hooks and bright strings all dynamically evolving throughout for ultimate dance floor impact. ‘Sunday Remedy’ follows with bumpy breaks, a weighty kick
and amalgamation of vocal samples in combination with gritty bass stabs and classic piano chords to perfectly encapsulate the essence of house.
Opening the flip-side is ‘Down The Street’, diving deeper with airy chords, breathy vocal chants and bouncy bass stabs intertwined with a more raw, reduced rhythm section. The aptly titled ‘Smooth As Butter’ then rounds out the release with a nod to the Detroit House sound, fusing shimmering keys with jazzy drums, twinkling chime melodies and lowpitched vocals across its near five minute duration.

So 2020 was going to be the year of Van Weezer -- the big riffs rock album Weezer made as an homage to the metal bands they loved growing up -- until, thanks to the global pandemic, it suddenly wasn't. The entire time, however, Weezer frontman Rivers Cuomo was busy at the piano, writing a very different album that referenced another vital musical touchstone of his youth: The Beach Boys' Pet Sounds.



Throughout the summer of Covid-19, he and the band -- along with a 38 piece orchestra -- chipped away at masked recording sessions until the record was complete. The result is an album called OK Human -- a cheeky nod to Radiohead's technophobic future-trip OK Computer, but sounding nothing at all like that record. Taking the listener bit by bit through parts of Cuomo's every day, it's a Technicolor symphonic spree that meditates on how over-and-under-connected we all are, particularly in a year where we can see each other with greater ease, but actually can't physically be near each other at all.





OK Human is also packed to the brim with some of the best, most personal songs Cuomo has written in the last decade, all of which shine brighter and bolder with splashes of string and horn arrangements courtesy of album producer Jake Sinclair and arranger Rob Mathes. It's hard to imagine any other band who came up in the alt haze of the 90s creating a simply perfect orchestral pop album, but that is exactly what Weezer's done; OK Human is a testament to the excellent, enduring melodies Cuomo has written since Weezer's inception, and the ones he continues to write today.

. The idea for the band was originally conceived by singer-guitarist Joe Woodward whilst writing and recording songs in his kitchen on a 4-track recorder, and over time eventually found help from like-minded friends, Elliot Roberts and Cam Wheeler. The three of them would spend their nights experimenting with cassette recording with the admirable if not challenging aim to recreate the symphonic sounds of Phil Spector on a DIY budget. With growing confidence and having amassed a small catalogue of songs, a few aborted attempts were made to get a live band together before they found help from a second guitarist, Eli Allison, who had recently relocated from Cornwall. As necessity would dictate, the first shows as a quartet made use of a drum machine, but the ideal formation for the band wasn’t truly complete until meeting Nia Abraham, whose live drumming would add a more physical quality to the band’s sound. At the beginning of 2024, they began working more purposefully towards an end goal with the writing and recording of the five-song Nowhere Near Today EP. Though retaining some of their home recording practices, they also made use of a studio facility based in a disused shopping centre basement that was made available through SHIFT, a local artist collective connected to the band. The acquisition of an 8-track Tascam 488MKII, along with the natural reverb of SHIFT’s empty concrete space allowed for further opportunity to experiment with both cassette recording techniques and their still developing live sound, the two environments permitting an all-too-rare creative freedom. The process was transformative for the group, their Spector-inspired ambitions now taking on a more defined shape that skirted around the edges of psych, noise-rock and industrial-pop in a way that increasingly became their own. For a debut EP, the results are impressively realised, a confluence of expansive tremolo guitars, a deliberately primordial rhythm section and a contrasting vulnerable vocal performance that’s both melodic and bracing. It’s a record born both of private experimentation and public performance, who they are on stage and what they express on record informing the other but still distinctly each their own thing, shifting then dovetailing like the waves of feedback that wash through Nowhere Near Today. Still a young band, it’s tomorrow they feel a lot closer to.

Drink Ring Jesus, the second album from Nashville based singer-songwriter Simmons was originally released in 2006 during a period of vast political and social change in America. Post 9/11 the age-old battle between good and evil, God versus Satan if you want to get personal, once again eased into view agitating hearts and minds. Like all songwriters with just their art to carve themselves a foothold in a world becoming less identifiable, Simmons produced an album that is both intimate and deeply inquisitive yet, like all the great folk records, its universal themes of hope, redemption, pain and despair will resonate with all who hear it.

Nearly twenty years on from its initial release Drink Ring Jesus feels as relevant now as it did then. From the opening lines of the title track Simmons is clearly caught in a time of intense personal reflection. It’s not an unusual pathway to tread for songwriters and artists alike, indeed many have fell by its wayside over the years, yet here our narrator is both looking for a way through and calling on something deeper than just instinct for guidance. We are right on the frontline, characters battling on the very precipice of sanctuary or sacrifice on the likes Time To Pay and Devil’s Work Is Never Done, before literally scavenging a ticket to Hope Station on the evocative Next Stop Redemption. There isn’t a moment where you feel Simmons is taking the easy way out or shying from titanic confrontation. Anything but. It’s in the no-mans land where these songs impact the most, at the very alchemy where despair turns to optimism or defeat.

Backspin first release is delivered by French producer Framboisier with a massive 4-tracker spanning from house to hardgroove, neatly designed for the dancefloor.

Guitar-slinging, soul-singing blues and rock legend Tommy Castro gets back to his crowd-pleasing blues roots on Closer To The Bone. Tommy’s one of the most popular roots music artists in the world due to his infectious albums and one of the busiest live performance schedules in all of music. His 2021 studio release, Tommy Castro Presents A Bluesman Came To Town, has scanned nearly 15,000 units.

Especial welcomes new artist DJ 1985 to the label. As so often, the idea of pushing new music has been the raison d'etre of the past decade. An EP of a love for Acid, from the breaks anthem of the title We Trippin’ to exploring the ethereal and even mind-melting Ambient House and Balearic of how the Roland TB-303 has become a fundamental element in the history of electronic music.

Soviet born; Belgrade exile Stanislav Grishchuk is DJ 1985. A man of many monikers, came to House later, originally progressing from Breaks, Hardcore and onto Drum and Bass as DJ Saint Man, a Mixmaster in the truest sense, switching it up to include Ghetto House and Booty, DJing led to producing, finally seeing DJ 1985 emerged to encompass Acid, Bleep, Breakbeat, Chicago and beyond.

A DJ supreme from the old school – check his Boiler Room mix for live vinyl dexterity – his productions nod to Aphex Twin and the Rephlex / UK lineage, the Techno. Electro of masters Underground Resistance and Drexciya and on to Italo, Italian House and early 90s New Jersey and New York’s golden period and of course the masters Kraftwerk, all influence the sounds of this debut EP.

Starting as 808 and 909 Electro and Techno jams, all the tracks are recorded live, MPC, synth and drum machines, no computers involved. We Trippin’ is built around the “Think” break, with trippy 303 line, some 808, synths and off we go “we trippin”.

Dolphin and Sirens was inspired by the Boka Bay dolphins of Montenegro, near where the recording was made. A flotation bath of warm dreamy acid beats and aquatic found sound, fast, shifting breaks, the Adriatic Sea of Croatia and beyond beckoning.

Catland’s title is a nod to Stanislav’s love of all the feline, but the breaks’n’303 cut is an endlessly uplifting spark, celestial, a cosmic evolutionary odyssey.

DJ 1985 completes his debut EP with the aptly titled The Last One. Spherular, mysterious, this rise of spatial breaks is a reawakening of symbolic music that is touched by both East and West. Stanislav’s music intersects, trans-national, almost spiritual and psychedelic. Live jamming, more hearted, the snap electro percussion, dream-laden pads are twinned with an ethereal otherness via the endless possibilities of the TB-303.

X-Coast unveils 9-track 2xLP The Riviera Collection on his label Riviera Records.

Hot on the heels from remixing instant dance hits such as Shygirl's '4eva' and DJ Gigola's 'La Batteria' and spotted in the studio with adored vocalists Eartheater and Miss Bashful, Serbian-born, NYC-based DJ/producer X-Coast returns with a collection of signature tracks that feel like the lost treasure chest of his dance island.

X-Coast is your favorite DJ's favorite producer, whose tracks you’ve undoubtedly danced to, whether on a massive festival stage or at an intimate, underground rave. Over the past decade, he has quietly but consistently shaped the pulse of dancefloors worldwide, with a distinctive style that traverses genres like house, techno, electro, drum and bass, and trance. This rare versatility has led X-Coast to release on the likes of Mall Grab’s Steel City Dance Discs, Diplo’s Higher Ground, Anetha’s Mama Told Ya and DJ Haus’s Unknown To The Unknown, to name a few.

What sets X-Coast apart is not just his ability to move fluidly between styles but the unique character embedded in every track. His productions have an undeniable warmth and authenticity, often evoking the raw, euphoric spirit of the 90s and 00s rave era. This nostalgic yet forward-thinking approach makes his music feel timeless, effortlessly blending old-school rave energy with modern production techniques. It's a quality that has made him a go-to for DJs across the board, whether they’re playing peak-time techno sets or deep, groovy house sessions.

On The Riviera Collection, released on his own label, Riviera Records, X-Coast opens the vault to reveal a diverse range of tracks that showcase his deep connection to multiple eras of electronic music. This collection reflects the breadth of his eclectic DJ sets, where various sounds and styles converge into a cohesive journey. Each track feels like a contemporary reimagining of a classic moment in dance music history.

From the early 2000s tribal influences layered with X-Coast’s signature chord work on ‘Neapolis,’ to the soaring, synthetic trance energy of ‘Desert Storm,’ and the infectious, camp vibe of the diva house ‘Hold Me Baby,’ the collection takes us on a nostalgic trip back to the origins of rave culture. It echoes a time when DJs crafted a journey through genres, playing everything from house to trance to techno in one seamless night.

The collection’s first hidden gems and long-awaited singles are “Da Boing Boing Trak” and "Put Your Hands Together". Both staples in his sets at iconic venues and festivals like Pitch Music & Arts, fabric, Circoloco, AVA Festival, Melt!, and Intercell, this track has been in high demand among fans, finally seeing its release. With The Riviera Collection, X-Coast continues to cement his status as a versatile producer capable of bridging the gap between past and present, while delivering music that moves crowds everywhere.

RAWAX prouldy welcomes Costin Rp to the artist Family!
Costin is delivering since years quality releases for our Sister label called Pleasure Zone and many other great Imprints.
It was more than about time to bring the man from Romania to RAWAX! We are very happy to present you two releases in the near future.

Repress!

Defected’s vinyl series continues to commit the label’s biggest digital releases to wax, delivering the best house music previously unavailable on vinyl, and this nineteenth edition collates four unmissable releases from 2023’s incredible summer season. Opening the compilation, British house favourite Jansons delivers old skool vibes with ‘Hypnotic’, championed by 90s hip-hop and RnB inspired vocal vocals courtesy of Dope Earth Alien. Next up, LP Giobbi’s long-awaited Defected debut came in the form of ‘Giodisco’, a joyful, vibrant club cut that showcased the live musician and producer’s disco-adjacent sound. On the B-Side, the First Lady of Defected Sam Divine presents her long-awaited dancefloor release ‘Take My Hand’ featuring Josh Barry on vocals. After teasing the track for nearly a year in her live sets, the heavenly house release did not disappoint. Closing out this esteemed collection is the addictive collaboration between Parisian underground favourites and London singer-songwriter Camden Cox, ‘Lady Love’, which dominated the summer season with its undeniable energy and earworm vocal.

Waxwork Records is thrilled to present GODZILLA 70th Anniversary Original Motion Picture Soundtrack by composer Akira Ifukube. Released in 1954 by director Ishirô Honda, Godzilla holds the record for being the longest- running franchise in film history. Waxwork Records worked closely with Toho to create this deluxe 70th Anniversary release, featuring a re-mastered score and all-new art.

When ships begin to go missing near Odo Island off the coast of Japan, the locals look to the government for help. Paleontologist Kyohei Yamane (Takashi Shimura) is sent to investigate the situation. There, he discovers the horrors of Godzilla, who soon begins attacking the Japanese mainland. As the military’s efforts to destroy the monster continuously fail, scientist Daisuke Serizawa (Akihiko Hirata) is called upon to use his “Oxygen Destroyer” to kill the beast. Finding Godzilla in Tokyo Bay, Serzawa’s machine is used and finally, the beast is felled.

Since its release, Godzilla has continued to terrorize audiences around the world. The film has influenced countless filmmakers, with both Akira Kurosawa and Steven Speilberg citing it as one of their favorite films. The genius use of practical special effects and miniatures changed how the Japanese film industry made movies for decades. Godzilla has spawned over thirty sequel films and countless video games, comic books, toys, TV shows, and more becoming a pop culture phenomenon in the process.

The film’s score by Akira Ifukube has become an instantly recognizable piece of film music. Given only the script and a week in which to compose, Ifukube crafted a score that feels as enormous as the kaiju himself. Godzilla’s theme has become a staple of nearly all subsequent Godzilla films and was considered by Ifukube to be the greatest piece of music he had written. Using low-pitched brass and string instruments, Ifukube gives the score a massiveness and weight that complement the terror and destruction brought about by the rampaging monster. Ifukube also used a deeply resonant stringed instrument to create Godzilla’s iconic roar, a trick used to create the roar throughout the franchise.

Waxwork Records is beyond excited to present this vinyl release of Godzilla for its 70th Anniversary. Re-mastered, pressed to colored vinyl, housed in a deluxe gatefold jacket with matte satin coating, an art print, and featuring all-new artwork throughout by Robert Sammelin.

Slum Dunk Music is proud to re-release Tropical Punk - a 12" EP by Brazilian mutant punk funk duo Tetine formed by Sao Paulo-born artists/musicians Bruno Verner & Eliete Mejorado, originally released in 2010 - and featuring 4 warm dance punk numbers taken from their the album "From A Forest Near You". The opener "Tropical Punk (Mutant edit)" comes with a brand new mutant funk re-edit with more percussion, more analog synths, warm drum machines, and a funky bassline. The result is a mid-tempo South American cannibalistic disco-pop with catchy lyrics & beautiful half-sang/half-spoken melodies. "Yr Daugther Lies" is a cosmic, experimental/new wave piece with plenty of old school synths, processed vocals, percussive drum machine & spooky live electronics flying around in the mix. It marks Tetine's first collaboration with L.A. electronicists Howardamb. On the B side, "Shiva" comes as a percussive tropical mutnat punk-funk number led by a swinged bassline & Eliete Mejorado's distinct post-feminist spoken word vocals on sordid domesticity set against organic drum beats, dissonant soundscapes, a lost trumpet & some great interplay of raw guitars. The last track "O Espaco" is a relaxed 6-minute cosmic disco piece of Brazilian tropical punk funk on the dangers & delights of being lost in the jungle - sang in Portuguese by Bruno & Eliete - & permeated by a discordant interplay of ultra-funky guitars, abstract synth-bass plus all sorts of FX & live electronics. Tropical Punk finds Tetine celebrating their art-punk roots back to the underground of Sao Paulo with a collection of wild & raw unconventional dance tracks.

"Enjoy The Ride Records in conjunction with Curry Cuts proudly presents Songs, Bond Songs: The Music of 007. For over sixty years, people around the world have been thrilled by the ongoing adventures of James Bond. And it's not hard to see why. The combination of death-defying stunts, cool gadgets, beautiful women, and sinister villains is nearly irresistible.

But there's another feature of the James Bond films that's just as crucial to their success: The music.

Songs, Bond Songs: The Music of 007 pays tribute to that great Bond music, with some of today's best indie pop artists - including members of Drive-By Truckers, The New Pornographers, Fountains of Wayne, and Bowling For Soup - offering updated interpretations of 26 James Bond themes, from Dr. No up to Spectre.

Songs, Bond Songs: The Music of 007 is available on vinyl for the first time. Featuring new gatefold and back cover art by Garreth Gibson, this release is sure to delight fans of 007. This pressing is limited to 500 copies across 2 color variants. "

"Enjoy The Ride Records in conjunction with Curry Cuts proudly presents Songs, Bond Songs: The Music of 007. For over sixty years, people around the world have been thrilled by the ongoing adventures of James Bond. And it's not hard to see why. The combination of death-defying stunts, cool gadgets, beautiful women, and sinister villains is nearly irresistible.

But there's another feature of the James Bond films that's just as crucial to their success: The music.

Songs, Bond Songs: The Music of 007 pays tribute to that great Bond music, with some of today's best indie pop artists - including members of Drive-By Truckers, The New Pornographers, Fountains of Wayne, and Bowling For Soup - offering updated interpretations of 26 James Bond themes, from Dr. No up to Spectre.

Songs, Bond Songs: The Music of 007 is available on vinyl for the first time. Featuring new gatefold and back cover art by Garreth Gibson, this release is sure to delight fans of 007. This pressing is limited to 500 copies across 2 color variants. "

Meticulously restored from original analog tapes. Lacquers cut by Kevin Gray at Cohearent Audio Pressed by Simon Garcia, Marciac, France
Tip-on gatefold jacket printed in Italy

The Lost Recordings is proud to present the first-ever complete release of this extraordinary piece of music history featuring Miles Davis (trumpet), Sonny Stitt (saxophone), Wynton Kelly (piano), Paul Chambers (bass) and Jimmy Cobb (drums).

Almost two years a previously unreleased analog tape of the Miles Davis Quintet was discovered. It turned out to be the missing part of their legendary concert on Oct. 11, 1960 at the Paris Olympia Concert Hall. After nearly two years of search in the South of France, the USA and Sweden, the other tapes from the event were gathered and meticulously restored as well.

Recorded at the Olympia, Paris, France on Oct. 11, 1960.

It’s safe to assume no one in the audience at Carnegie Hall on March 30, 1974 anticipated what Miles Davis would play at the concert documented on Dark Magus: Live at Carnegie Hall. Recorded near the tail end of his electric period, the double album remains the darkest, most ferocious statement of Davis’ career — a visionary effort that foresaw developments in jungle, noise-rock, funk, and drum ‘n’ bass.

Initially issued in Japan in 1977, Dark Magus waited two decades for U.S. release. Now, more than 50 years after Davis and his ensemble blew minds at the famous New York venue, it gets its first-ever domestic issue on vinyl — and on a definitive-sounding pressing at that.

Mastered at Mobile Fidelity's California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, this numbered-edition 180g 33RPM 2LP set of Dark Magus invites you to pull up a seat and wrap your head around an exhilarating performance that simultaneously functions as an audition, experiment, release, and magnificent explosion of jazz-rock fusion. We hope your turntable and speakers are up to the challenge.

This collectible reissue presents the improvisational magic that unfolded onstage — the skronking tonalities, wah-wah-pedal bluster, acid-washed effects, furious drumming, run-the-voodoo-down grooves, menacing riffs, crashing cymbals —with incredible detail, color, and pace. It also captures the band’s unbelievable energy, rendering both instruments and on-the-fly changes with revealing depth, definition, and dynamics. At its core, MoFi’s audiophile set takes you deep into the boundless mystery, promise, and uncertainty of Davis and company’s efforts like never before.

The story behind Dark Magus is nearly as unbelievable as the spur-of-the-moment compositions that resulted when Davis brought drummer Al Foster, bassist Michael Henderson, percussionist James Mtume, horn virtuoso Dave Liebman, and guitarists Pete Cosey and Reggie Lucas together, and, in a new twist for the concert’s second half, added guitarist Dominique Gaumont and tenor saxophonist Azar Lawrence to mix. That the latter two instrumentalists had never seen each other until that night adds to Davis’ legend — and penchant for bold, unorthodox moves.

Ditto Davis’ own actions that spring evening, which reportedly included showing up to the show an hour late and taking the stage with his back facing the crowd. The strategy worked. Davis inspired the group to play in a bold manner that few, if any, had heard before. Dark Magus is a rhythmic bonanza. Rooted in Afro-centrist techniques, avante-garde sensibilities, and exploratory moods, the songs eschew set arrangements and solos, and, for the most part, melodic devices.

For Davis, Dark Magus represented a personal triumph amid a period marked by health issues, addictions, and critical decline. The latter slight would be corrected, but not until decades later when Dark Magus saw Stateside release in 1997 via a CD reissue. Of course, the free-form patterns, unpredictable passages, dense structures, and distorted blues that course through the songs — titled after Swahili numerals — are not for everyone. And certainly not for the fainthearted. Though Dark Magus contains majestic moments marked by quiet restraint and something on the level of balladry, its rich and radical concoction of tormented thwacks, thumps, cracks, clatters, wails, bleeps, burbles, stomps, and enigmatic beats remains its adventurous heart and soul.

Primal and enigmatic, fierce and jagged, forceful and revolutionary, jolting and terrifying, Dark Magus seemingly attacks from any and all directions. Turn it up loud and let the prophetic brilliance of this inimitable and relentlessly funky album wash over you.

F.U.N. Is Now Available In A Limited Frosted Shadow Colored Vinyl Pressing!

The latest full length album from Detroit mainstays Slum Village, F.U.N., has now made its way to vinyl. The 12-track project is their first album in nearly ten years and includes fresh collaborations with Larry June, Cordae, Eric Roberson, Robert Glasper , Karriem Riggins, Abstract Orchestra, Sango, Phat Kat, Daru Jones, Earlly Mac, The Dramatics and more. 2015's critically acclaimed Yes! further cemented T3 and Young RJ's ability to effectively carry on the legacy of the seminal rap group, retaining its essence while evolving its sound with fresh new energy. However, with last year's sold out tour in Europe, and the release of the Larry June and The Dramatics-assisted "Just Like You", it was revealed that the duo was back in the lab together working on a new Slum Village album. F.U.N. finds Slum Village expanding on their signature certain sound, but still staying close to their hometown roots: Young RJ explains- “We wanted to just try something new, so we focused on making Disco-inspired music,” and T3 notes that the recording process all “began with collecting old Disco records.” For fans who wonder why the sonic shift, and why the long hiatus between proper albums, T3 says “Slum is still here. We’re still relevant and we’re still trying to push the envelope. Sometimes people put too many rules on music, and without sounding cliche, we wanted to just have fun with this album.” F.U.N., indeed.

Since the late 90"s, Jakob "Dino" Dinesen has become a stalwart of the Danish jazz scene, performing with nearly everyone of note in the country as well as internationally celebrated names such as Kurt Rosenwinkel, Jeff "Tain" Watts, Jakob Bro and Paul Motian. Finding joy and inspiration in the building of bridges between genre boundaries, his career in music has seen him travel and perform all over the world, enriching his sound and soul with every new experience. His new record seeks to convey his dream of a future world at peace with itself. "Slow Flow" is set to release on January 25th on April Records. "I envision a world where people from every corner of the globe come together, dancing, sharing meals, and finding joy through my music. My children are a blend of Africa and Denmark, and I hope they"ll carry the traditions and wisdom of both their mother and father as they navigate their path. I would love for music like this to be the soundtrack to their journey through life." Rooted in the playful live sound of an atypical quintet featuring cello and djembe, Slow Flow sits in a unique space somewhere between earthy, simplistic, and acoustic and contemporary, electronic, and unexpected. The record"s sound is soft spoken and full of compassion-a dark-timbred music where the intimate, warm breath of his tenor saxophone intertwines with the crisp, organic tones of the cello. Together, they float over smooth, analog synths and electronic loops, while the carefully crafted lines of the bass and the gentle rhythm of hands on drum skins carry the music forward. Occasional erratic, quirky bursts from an affected keyboard and weaving improvisations offer moments of energy and contrast. Each of the album"s nine original compositions paint musical pictures of contentment that are dear to Dino, as well as offering musical tributes to four of his heroes in Yusef Lateef, Wayne Shorter, Coleman Hawkins and Eddie "Lockjaw" Davis". Drawing on modern European jazz, African rhythms, Italian circus music, and reggae, Slow Flow plays as a deeply personal exploration of Dino"s identity, whilst providing a dream-like message of global peace that promises to resonate with like-minded people all around the world..

Scratching and clanking, cold and hypnotic, equally suitable for dancing and crying, this release was and remains a reflection of the harsh and magical Siberian reality.
Two great artists worked on the design of this release. A chaotic punk collage by Antonio Carrau as the cover art, a poster with broken сyrillic calligraphy by Marina Leonteva, and a bilingual inlay layout in a neat book style by me. All together, they reflect the different facets and depths of the musical and lyrical content of the album.

Beirut Birds (طيور بيروت) is a sonic memory capsule honoring (inter)personal stories of migration, displacement, and the cyclical turbulent circumstances in Lebanon. Transforming her multi-year project, multidisciplinary artist and composer Nour Sokhon crystallizes the performance Beirut Birds (طيور بيروت) into her long-awaited debut album. When presented and performed live, it is accompanied by juxtaposed images of the Lebanese capital’s city life and avian migration across the Mediterranean Sea, representing themes strongly woven into the music.

In her variegated artistic process, Nour has undertaken and recorded interviews with diasporas and repatriates to commemorate, share, heal, and envision. These source materials become the album’s core elements that loop, narrate, and return throughout time, with Nour responding with both instruments and her voice. Chanting in dialogue with the interviewees, crafting near-mantras, Nour further congregates these materially-rooted soundscapes by including field recordings that she gleaned during 2018–2021 in Lebanon and her subsequent move to Berlin.

Embedded within the composition are manipulated sounds from objects that symbolize migration, such as office bells, a luggage wheel, car parts, and bureaucratic paperwork. Musically, the songs are enriched by Nour’s improvisations on classical piano, electronics, synthesizers, violin, and various percussion instruments. As time is sculpted and the layers blur, words become specters, while an entropic orchestra of drums and melody rises, giving shape to an in-between space for those who have left, and stayed.

Music and artistic research by Nour Sokhon, 2018–2024. Recording, editing, and mixing by Rabih Beaini at Morphine Raum, Berlin. Mastered by Rashad Becker at Clunk.

Following the launch of his new music label, Early Morning, in September 2024, Guy J sets the stage for its sophomore release-an immersive two-track concept by acclaimed producer Roy Rosenfeld.



Roy, an artist whose productions often transcend genre boundaries, offers near-17-minute material with an imaginative work that captures attention and a creative depth.

The opening track, "Forgotten," evolves with a measured intensity, layering elements that cultivate a ritualistic atmosphere. The arrangement unfolds through indigenous-percussive influences, steadily progressing towards a resonant climax. By the third act, rich, deep chords punctuate the experience with a sense of calm, only to transition into a melodic break followed by the tribal-inspired crescendo.

Equally compelling, the closing "Hello" begins with an 80s arcade-inspired, lo-fi aesthetic juxtaposed against high-fidelity beats. Driven by ethnic percussion, it conjures the raw energy of ancient rituals, evoking primal imagery of witch doctors dancing around fires to honor the cycles of life.

Here, Rosenfeld merges traditional, futuristic, and vintage synth elements in a call to fellow producers, challenging them to innovate while empowering dancers to embrace nights of hedonistic freedom.

Burnout Days, the forthcoming sophomore album finds flipturn returning as sonic architects, harnessing their impressive knack for hooks, shimmering soundscapes and "nostalgia-inducing lyrical delivery" (Uproxx). But on Burnout Days, flipturn arrives with more grit, craft and vulnerability than ever before - a clear evolution in the band's sound, and one that reflects their growth as musicians and individuals. Recorded at Sonic Ranch Studios near El Paso, Texas and produced by Chad Copelin (Wilderado, Sasha Sloan, BRONCHO), Burnout Days is inspired by the band's journey on the road, as they sort through challenges like self-esteem, codependency, addiction and the twists and turns of day-to-day life in one's mid-twenties. Together, they uncover the beauty that exists even in times of burnout through a mix of raw, rhythmic moments and sonic experimentation - all with a palpable sense of meticulousness and maturity.

“This is a true story”

Fargo is a fantastic dark comedy-crime drama television series created and written by Noah Hawley and inspired by Joel & Ethan Coen’s 1996 movie of the same name. Both Coen brothers serve as executive producers on the series. The show stars Martin Freeman (The Hobbit trilogy), Billy Bob Thornton, Bob Odenkirk (Breaking Bad, Better Call Saul) and more.

The soundtrack features selections from the show’s original music composed by Jeff Russo (Power, Necessary Roughness, About Cherry). Its score is well done, with different motifs or instruments assigned to different characters. For Lester Nygaard (Martin Freeman’s character) it’s that nearly-whimsical main theme. For the drifter Lorne Malvo (Thornton’s character) it’s sleigh bell chimes that represent his animalistic nature coming out.

This is a limited edition contains of 666 individually numbered copies on transparent green vinyl. The package includes an insert with pictures of the characters.

Crimson Red Vinyl. The Atomic Bitchwax, originally formed in the mid 90s as a side project of Monster Magnet by veterans of a thriving New Jersey stoner rock scene, quickly carved out their own reputation with a handful of searing releases and near-constant road ethic. Twenty five years after their debut release, the band's lineup features founder Chris Kosnik on bass and vocals, joined by Bob Pantella on drums and Garrett Sweeny on guitar.

DIG CURATED the infamous four of this EP in an omnivorous fashion, allowing vinyl wizard Louis the 4th to take us on a ride of stylistic adventure between old and new-school techno wickedry.

Olivia Mendez (the curator behind this EP) picked these gems according to the way she would build her sets; each track corresponding to a distinct part of a blazing journey. Each track being a different color on a powerful, vibrant palette, attesting to the versatility of an artist whose emblem is anonymity - remember Detroit? - and reinvention. The man behind the bandana doesn't shy away from paying homage to the old school while at times enveloping us into a computerized sound chaos - classy as it is.

This selection reveals a side of LTF that hasn't been shown before, catching the ears of a great number of peeps, who could easily find their match here.

"Dilatation" is a chugging techno zinger, with a groove that feels minimal yet keeps expanding through punctured breaks and urging synth enveloped into a sustained air- a kind of tool that mounts the energy to near combustible.

"Almost There" decompresses space into a light-weight, energy saver atmosphere, that fleshes out a brand-new compartment in LTF`s music wallet. Threaded through driving rides and a rhythmic zeal, it wobbles gently between sustain and release.

On the flip side, "Kurrikulum Vitae" flexes LTS mechanics, with rascal shifts in a groove that feels simultaneously ancient and totally new, amassing a depth of textures and tones towards a skanking peak.

"999" seals the deal with multilayered distortions enveloped into ghostly undertones and reverbing crunches, half-step of being a techno-artefact and a dazzling sound puzzle, made of a loopy melody edging towards poise.

Words by __ORSHI

For roundabout a decade now, The Lavender Flu has been pumping their inimitable, underground group-sound way past all manner of lesser modern muck, moving only and always as their varied inspirations prompt them. As players, Chris Gunn, Ben Spencer, and Scott Simmons remain open to where any given moment might take them, which has resulted in thrilling experiences both live and on record at every turn. Tracing The Sand By The Pool, their latest album for In The Red, finds The Flu firing at their most crisp and direct, a full-band collection of meander-free hits triumphantly captured to tape by the lads themselves. Moments will tug, others will stun, but there can be no doubt this new communiqué is their mightiest. The record unfolds from “Within,” born out of a Kiwi brightness that is methodically guided through a series of near-crashes and sly, inward moves, spotlighting the key pillars of the band’s songcraft and tailored to convert the uninitiated. Gunn’s guitar work continues to fascinate and marvel, boasting too many moments of both melodic sweetness and violent shattering to detail here. Their cover of the hangmen’s “I’m Gonna Love You” capably inverts Suicide’s menace to a hopeful, romantic sheen. Of critical note are a pair of guest contributions from The Spatulas’ Miranda Soileau-Pratt, who lends vocals to multiple songs including the deceptive 80s dosed pop of “Snail On The Map”, and The Tube Alloys’ Shelby Jacobson, who takes lead on a cosmos-injected cover of Fleetwood Mac’s “That’s Alright,” as well as “Patron Eyes (Cocoon 2069),” the most vicious, smashingly punk moment the band has unleashed to date. From the jump to its final rest, the album is boundless and full of gifts.

I first saw Hugh and Jackson play together at Good God’s ‘Soft Future Piano Bar’ at the Sydney Opera House in 2017. That year was a fruitful year for the two as artists and for the Sydney music community in general. I remember that all of us, along with Greville and Brad, hosted a DIY party in a tunnel under a highway somewhere near Sydney Airport. Is that the same tunnel that Tunnel Dancers derived their name from? 7 years after that first meeting at the Sydney Opera House, Hugh and Jackson have released an album. Listening to these songs there is an audible patience and understanding between two musicians. They probably could have released something else a long time ago, but chose to wait - instead enjoying bowls of laksa on their lunch breaks and sharing long, quiet conversations at The Babylon Sauna & Spa. When the next warm bowl of noodle soup arrives on your table, how long will you let it sit before you dive in? Soup first or noodle first? If you learn from these songs, perhaps you will know to first observe the whole bowl. Observing in this way, the moment settles and hovers and remains for much longer than a moment.

The Queen of Jazz and 'Satchmo' had duetted earlier in their illustrious
careers. But it wasn't until Producer Norman Granz came up with the
idea of putting them together for specific albums that their true
chemistry was revealed. The Platinum Collection features two iconic
albums Ella & Louis and Ella & Louis Again. Both albums feature Jazz
At The Phil regulars Oscar Peterson (Piano), Herb Ellis (Guitar), Ray
Brown (Bass) and Buddy Rich (Drums) with the exception of Louis
Bellson replacing Buddy Rich on Ella & Louis Again recording. Now it's
time for Fitzgerald to 'take it Ella - swing it'....

Ryan Adams’ infamous cult classic album “Blackhole” will be released on classic black vinyl for the very first time.

The album’s contents and final tracklisting have been widely speculated since its conception in the early 00’s. After nearly two decades of anticipation, Adams is now ready to unveil the official release of Blackhole.

Featuring “Catherine”, heard only in live performances, alongside previously unheard material, Blackhole captures the raw, unfiltered emotion that defines Adam’s songwriting. The shelved album, first demoed in 2006, became heavily bootlegged, with fans circulating low-quality recordings and snippets from live performances, fuelling a demand for the album’s official release. This long-awaited, full-length album not only satisfies years of fan speculation, but also reclaims a crucial moment in Ryan Adam’s history.

The more you recall a particular memory, the more it distorts and plays on your sense of narrative continuity. In this way, the vividly textured layers of Secret Recess – the debut Dauw LP from Luke Entelis aka Viul – comprise a sacred experience that leaves a unique emotional residue with each listen. Some pieces feature delicate melodies curling over themselves, while others offer gradually evolving loops underpinned by subtle guitar plucking, distant found sounds and obscured voices at half-speed. All are crafted meticulously with analogue sources and sifted through soft-edged tape processes that reward a dedicated headphone session, conjuring the solitary space promised in the album’s title.

From a home studio replete with analog synthesizers, guitars, effects and tape machines, Secret Recess emerged slowly across an era when most of us turned inward by necessity, drawing upon a library’s worth of sketches, recombinations and lightning strikes. Entelis also cites in particular a road trip to the national parks of the southwestern US that significantly informed the hazy, spacious atmospheres of the work that followed; by his account, “the desert wind was too intense for field recording,” but you can still feel it drifting across compositions like “Taurum” and “Eighties”. Such a union of urban huddle and open-sky expanse allows the album to take on new colours anywhere it’s heard.

Whether fully formed in one brief spell or developed over months of revisitation and refinement, each facet of the Viul catalogue conveys a rare, sweet melancholy pulled from thoughtful circuitry and the core artistic impulse to simply document the ephemeral – those moments in existence that you have to accept losing, but which replay endlessly once the day unravels.

“In the depths of the recording process I often feel simultaneously in touch with past and future versions of myself, which is strange, but good, I think.” (Viul)

Viul has been the primary project of Brooklyn’s Luke Entelis for nearly twenty years, but only in the last half-dozen has it come to fruition beyond the ears of friends and family. The albums Bright Decline (Disques d’Honoré, 2019) and Outside the Dream World (Past Inside the Present, 2019) beautifully justified this patient arc, and the collaboration Konec with Benoît Pioulard (A Strangely Isolated Place, 2022) entwined the two artists’ sensibilities into one of the most notable ambient/experimental collections of the year.

Following the success of Dance Classics Volume 1, Music On Vinyl, in collaboration with Warner Music Benelux, presents Dance Classics Volume 2.
Once again, all tracks have been newly selected and remastered, offering a broad selection of dance classics and hit songs.
This collection features hidden gems, rare tracks, and deeper cuts, including full-length 12”/album versions. All tracks are un-mixed and DJ-friendly.
Dance Classics Vol. 2 includes floor-fillers from The Trammps, Chic, Rufus & Chaka Khan, Womack & Womack, Michael McDonald, and nine other tracks.
Dance Classics Vol. 2 is available as limited edition on silver coloured vinyl and includes an insert.

Last release of a productive year for Feral Child sees a fabulous mini LP from London based, Japanese Psych band BARBICAN ESTATE. Six beguiling tracks of atmospheric, occasionally acid folk flavoured, melodic > freakout shifts, taking in tips of the hat to Popol Vuh (check Miri’s beautiful vox on “Angel”), Amon Duul and fellow countrymen Acid Mothers Temple and Kikagaku Moyo amongst others. Formed in 2019, this three-piece consists of Kazuki Toneri (guitar, sitar), Miri (bass, flute, vocals), and Koh Hamada (drums, percussion). Each member is well-versed in music, film, and various other arts, drawing inspiration not only from experimental, psychedelic rock, and noise music but also from art across the world, both past and present. Their music weaves solid, architectural elements with destruction into a dark and gloomy soundscape, is often described as "dark psychedelic." They released their first album, “Way Down East”, in 2021. In 2022, they relocated to London, where they performed on UK tours and at festivals. Having already played nearly 50 live shows, they are gaining attention in the local scene. Their latest EP, "Viscum" was released in June 2024. “Barbican City of Tokyo” is a compilation of tunes previously consigned to digital release only that label head, Dom had free rein to assemble an EP from, which luckily the band wholeheartedly agreed upon! …and all four tracks appear on vinyl here for the first time. This release hopefully cements a growing interest in the band’s fabulous music, and early reviews of both the LP here and their live shows are overwhelmingly positive.

Finally! The first Sally Shapiro album re-issued. Almost 20 years later sound as fresh as the first listening.

When Sally Shapiro’s iconic debut LP, Disco Romance, hit the European scene in late 2006 (and the following year in North America), it created a bit of an earthquake, the vibrations of which the duo of Sally Shapiro and Johan Agebjörn are still riding today. Pitchfork awarded it “best new music” and an 8.5 review. Nearly 2,000 music fans on the big RateYourMusic forum ranked it the top Italo Disco album of all time. It wasn’t that it was the only Italo Disco revival album. However, Disco Romance was notable for the particularly high quality of the songwriting and production, for Sally’s ethereal vocals, and for the depth and breadth of the album’s scope.

Homer Steinweiss has an incredibly storied career in music that started when he was just a teenager. He's drummed for nearly every "retro soul" group that mattered and his distinctive stickwork helped blend the raw-but-receptive soul sound back into the mainstream via the likes of Amy Winehouse & Sharon Jones. He's now one of the most in demand drummers in the world, playing with Jonas Brothers, Clairo, Solange, Adele, and Bruno Mars to name a few.

With his debut solo release Ensatina, Homer is stepping to the forefront as both musician and producer. His new record is a re­ection of who he is now and a testament to how struggle often brings about a needed change. In 2020 Homer had to reckon with considerable emotional turbulence; at the same time that his band Holy Hive broke up, a personal relationship of 20+ years fell apart putting Homer in an uncertain place mentally. The fallout was signi‑cant enough for him to seek professional help. "I was going through these super manic highs and then very depressive lows," Homer describes. "And being in all that, it's just so tough to imagine that the other side is there, that it'll be ok." But, with time, professional help, and support from friends and family, Homer made it through and has been forever changed. This album is a product of that period of his life. The ‑rst song from these sessions, "Now That It's Over" perfectly sums up Homer's triumph through those tough times. It's a song of changing perspective and contemplation with haunting vocals from Hether and Flikka. "Paul (Castelluzzo_ aka, Hether), as a friend, saw me through these highs and lows," Homer points out. "I only had the one line, 'Now that it's over, I'm alright,' but he felt that lyric so much that he wrote all these sections and lyrics and basically completed the song. It was like he was writing to me." Hether also features on album standouts "Deep Sea", a modern love song, "Start Select", a juxtaposition of inspiration and melancholy, and "Forever and Ever and Ever and Ever" which is an incredible contemporary take on the B side soul ballad. Homer uses his innate gift for bringing seemingly opposing energies together on "Racecar Driver", pairing the vocals of Hether & long time friend and collaborator KIRBY to make a genre challenging banger. KIRBY also graces the album opener "Rollin'", an airy, warm-weather invoking song that her raspy voice perfectly compliments. He puts his drumming front and center on "So Get Up!", a bottom heavy infectious track that MINOVA's vocals turn into an instant hit that is sure to smash speakers. On "Wishing Well" & "Hide It Behind the Light I'm Shining Through" Homer is joined by girl named GOLDEN, who's unique voice effortlessly ‑nds the pocket in each tune. The man on trumpet, and fellow Big Crown label mate Dave Guy, puts his incomparable playing on the album closer "Goldie" which Homer says is the part of the movie where the credits roll.

Making this album was a refuge for Homer and it put him back on track. Ensatina is a glimpse into the different energies and in­uences that make Homer tick. To say he was always much more than a drummer would be an understatement, and this ‑rst solo offering is just the beginning of his next chapter.

Born in Australia and moving to the UK in her early 30s, Peggy O’Keefe became the resident pianist at the Chevalier Casino in Glasgow in 1962. Initially the residency was for six months, which then turned into six years. It was at this point she recorded her 'Mood Chevalier' LP in 1966, a collection of the band’s favourites but the gold is found in her version of 'Cubano Chant', made famous by Art Blakey and then played across jazz dances ever since.

Peggy’s playing was admired by Cleo Laine and Oscar Peterson, and once had a brief, impromptu duet with Frank Sinatra, Peggy and her band showed their true talent with these two versions of jazz favourites.

Hiding in the shadows for nearly 60 years, Now PANORAMA unearth this gem in their trademark 7 inch format, from a Glaswegian restaurant to a dancefloor near you.

PANORAMA Records is an emerging new label based in London, dedicated to rediscovering and showcasing musical gems with a fresh approach. With early support from notable DJs such as Gilles Peterson, Patrick Forge, Rainer Trueby, Mr Bongo DJs and Zag Erlat from My Analog Journal. Their unique take on Jazz and Funk from the further afield has shown they will become trailblazers in the reissue game for a long time.

Art Blakey, whose career spanned nearly 50 years of Black music history, exemplifies the timeless role of the drums in jazz. This Album of the Year LP, originally released in 1981, features the Jazz Messengers: trumpeter Wynton Marsalis, saxophonists Robert Watson and Bill Pierce, pianist James Williams, and bassist Charles Fambrough, alongside drummer and bandleader Art Blakey.

The album was recorded in Paris, and tracks include “Cheryl” (written by Charlie Parker), “Soulful Mister Timmons,” and “Little Man,” among others. The accompanying liner notes were written by Ted Panken.

"Across The Tracks" ist das erste gemeinsame Albumprojekt des Detroiter Rappers Boldy James (Mitglied des Griselda-Kollektivs) und des Grammy-prämierten Produzenten Conductor Williams (Drake, Conway The Machine, Westside Gunn). Die LP trieft vor Nostalgie mit Old-School-Beats und beeindruckender Lyrik von Boldy und erhielt Lobeshymnen von der Musikpresse (Pitchfork, Billboard, NPR, Stereogum,...). Bone Coloured Vinyl.

Originally release in March 2009, Midle Cyclone is repressed for 2025. 'Middle Cyclone' was produced by Case with Darryl Neudorf and recorded in Tucson, Brooklyn, Toronto, and Vermont. It features Case backed by her core band - guitarist Paul Rigby, bassist Tom V. Ray, backing vocalist Kelly Hogan, multi-instrumentalist Jon Rauhouse, and drummer Barry Mirochnick - along with numerous guests including M. Ward, Garth Hudson, Sarah Harmer, and members of The New Pornographers, Los Lobos, Calexico, The Sadies, Visqueen, The Lilys, and Giant Sand, among others. In addition to twelve new songs written by Case, 'Middle Cyclone' includes covers of "Never Turn Your Back on Mother Earth" by Sparks, and "Don't Forget Me" by Harry Nilsson.

In 2006, SPIN Magazine called Case "one of pop music's best" voices, and Interview Magazine hailed her album 'Fox Confessor Brings The Flood' as "one of the most original, beguiling, honest records of the year." The album also earned Case Female Artist of the Year honors from the PLUG Independent Music Awards, and a Top 10 placement in the Village Voice's annual Pazz and Jop Critics Poll of the year's best releases. 'Fox Confessor' was Case's first album to debut in the Billboard Top 100, and has sold nearly 200,000 copies in the U.S. alone.

Repress!

Voodoos and Taboos first appeared in 2019. A mysterious outfit, their melting pot sound immediately caught the ears of the faithful; acid cut with house, electro beats shot through with a punk D.I.Y. attitude. Their escapades didn’t miss us here at Bordello.

Reversible Dreams collects four examples of this chameleon club style that Voodoos and Taboos have cultivated, the EP opening with the title piece. Cascading chords and whispered samples give way to rich bass strings as a playful piano melody transforms into squirming acid beams.

Claps and neat notes introduce “Unconditional Love”, vocoder lyrics mingling with spoken word and juddering space TB303 squawk. The flip adopts a darker hue. Off-kilter bars and stern beats introduce “Animae”, alien electro melodies descend as a fizzing late night energy takes hold. BPMs drop for “Destino Lontano.”

Warm basslines and Eastern scented synth-play weave their way through the piece, delicate strings and dawn sunshine leading to a close.

BACK IN PRINT ON BLACK VINYL

“To understand the significance of the word ‘featuring’ on Featuring Pharoah Sanders And Black Harold, consider how infrequently Sun Ra used it and the exact way it had been used.
“The October Revolution in Jazz, organized by Bill Dixon in the West Village in 1964, presented a vivid cross section of approaches to the new music, including a sextet led by Ra. For the October Revolution’s continuation, titled Four Days in December, held at nearby Judson Hall on the last days of 1964, the Arkestra performance presented Pharoah Sanders as well as a flautist (who was and remained obscure thereafter) named Harold Murray, nicknamed Black Harold.
“It wasn’t until long after Sanders had achieved worldwide acclaim with John Coltrane that Ra and manager Alton Abraham decided to issue the music they’d recorded at Judson Hall. After its first release in plain or hand-decorated covers in 1976, Featuring Pharoah Sanders And Black Harold remained an exceptionally rare item in the El Saturn discography, known to a few lucky collectors.
“We’re lucky to have this glimpse of what Sanders sounded like in such a different context, galvanizing the large group and in turn being inspired to make his first significant contribution on record.”
—John Corbett (excerpt from the liner notes)

Das erste Album seit über 5 Jahren:

Fall Out Boy kündigen So Much (For) Stardust für den 24. März an.

Fünf Jahre nach ihrem letzten Album melden sich Fall Out Boy zurück - und sie haben Sternenstaub für alle mitgebracht.

"So Much (For) Stardust" lautet der Titel des insgesamt achten Studioalbums, das die Grammy-nominierte Multiplatin-Rockband für den 24. März angekündigt hat.

"So Much (For) Stardust" stellt für die Band in vieler Hinsicht eine Rückkehr zu den Wurzeln dar. So feiern Fall Out Boy zum Beispiel eine Reunion mit dem renommierten Produzenten Neal Avron , der bereits Mitte der 2000er an drei Alben der Band arbeitete.
Dazu kommt, dass sie genau 20 Jahre nach ihrem ersten und bisher einzigen Album bei Fueled By Ramen/Elektra genau zu diesem Label zurückkehren.

"So Much (For) Stardust)" ist das erste Studioabum von F all Out Boy seit "M A N I A" 2018, das eine Grammy-Nominierung als "Best Rock Album" einfuhr und ihnen in den USA die #1-Platzierung in Folge einbrachte.

Dark Entries celebrates its 15th anniversary with legendary synth-punk deviants Crash Course in Science. Dale Feliciello, Mallory Yago, and Michael Zodorozny formed CCIS in 1979 after meeting at art school in Philadelphia. As a gesture born of equal parts punk irreverence and brute necessity, the band incorporated toy instruments and kitchen appliances into their aggressive, angular sound. Their anthems “Cardboard Lamb” and “Flying Turns” from 1981’s Signals From Pier Thirteen EP have been staples in adventurous DJ sets for over 40 years - yet some of their finest work is to be found on Near Marineland, a full-length LP recorded in 1981 but remained unreleased in its time. Near Marineland shows the band moving into more diverse and polished territory (although it’s still as abrasive as sandpaper). Tracks like “No More Hollow Doors” and “Jump Over Barrels” highlight CCIS’s singular knack for embedding infectiously monotone hooks in their stiff-yet-funky grooves. Elsewhere we see CCIS going fully unhinged, like on the searing “Someone Reads” or the demented “Pompeii Spared”, where a spray of honks is barely glued together by a frantic synthetic pulse. While this masterwork of malfunctioning analog electronics has surfaced on a few occasions - this first time stand alone remaster includes four never-before-released bonus tracks and includes a lyric sheet. Near Marineland is crucial listening for all devotees of synth-punk and minimal electronics.

Gloria Scott’s ‘What Am I Gonna Do’ is considered by many as one of the greatest soul records of all time. A masterpiece produced by Barry White, that oozes class, lush instrumentation and the remarkle vocal talent and emotive delivery of Ms Scott.

From the impecable opener ‘What Am I Gonna Do’ through to the Modern Soul scenes favourite, ‘(A Case Of) Too Much Love Makin’, nearly every cut on the LP is a classic.

An extremely rare LP since it’s release in 1974, with original copies changing hands for over £100. Now 50 years on it has been officially licenced & lovingly reissued by the Selector Series label and arguably an LP every Soul fan needs in their collection.

Long-running cinematic rock band Caspian don't want you to call their fifth album On Circles a "redemption," a "comeback," a "rise from the ashes," or any of the other sentiments that emerge when bands return from nearly five years of silence. Instead, this majestic collision of post-rock, metal, shoegaze, electronics, noise and ambient music is an existential meditation, an acceptance of the cyclical nature of both life and career. Produce by Will Yip (Code Orange, Defeater, Quicksand, Turnstile), On Circles marks the most organic writing and recording sessions in Caspian's 15-year history. Together for four weeklong songwriting sessions, the band (joined by propulsive new drummer Justin Forrest), opted for music gleaming with visceral impact instead of over-thought tangles, over-arching concepts and drawn-out crescendos On Circles is an art-rock record swirling with fourth-world saxophones, dubby textures and 7/8 rhythms. The albums two epics, “Division Blues” and “Ishmael,” feature apocalyptic cello from Jo Quail (Myrkyr, Winterfylleth, Poppy Ackroyd). The wistful "Nostalgist" features vocals from Pianos Become The Teeth vocalist Kyle Durfey. For the first time, each track is meant to stand alone. "They're just songs that we got together and wrote over the course of a year while trying to have a good time and reclaim whatever it is that’s simple about all of this," says Jamieson. "Don’t get me wrong, we kicked our own asses constantly and stayed up staring at the ceiling thinking about song structures all night for a year … but being free from the yolk of having our music relentlessly try to answer the un-answerable was emancipating and humbling

Sourcing rare records to reissue can involve meticulous research and years of digging, but then occasionally, Lady Luck smiles upon you. We probably would have never heard of the Medium Wave Band if Gary from Mr Bongo hadn't known Wolverhampton-based record dealer, Steve Ward. Whilst offering Gary some records for sale, he remembered he had a spare copy of an old 7" single that he thought Gary might like. Steve didn't know much about the release, and it had never sold on Discogs. Looking at the record itself, it was minimalist in appearance and information, there wasn't much to go on other than that it was from the Birmingham area. The mystery drew us in…

The A-side, 'So Tender’, is a late-night, jazzy slow-jam, with beautifully sultry, soulful female vocals which sounded vaguely familiar. On listening to the B side, 'Games (Instrumental)’, you are rewarded with a superb example of Britfunk / independent UK jazz-funk. The pulsating, bass-led dancefloor groove and sensibility is a sound reminiscent of productions usually found on labels such as Elite, but the 7” was not released on a label, it was a private press by the band themselves. So who are the enigmatic The Medium Wave Band?

After some fruitful internet digging and correspondence, we got the answers. The band lineup featured Elliot Browne on guitar (lead & rhythm), Ron Lyseight on guitar (rhythm), Andrew Proverbs on keyboards, Tony Peart on drums, Paul Snook on bass, Linton Levy on saxophone, and surprisingly, the beautiful vocals we had been enjoying were those of Jackie Graham, aka the hugely successful UK vocalist, Jaki Graham. Maybe best known for her pop hit with David Grant, 'Could It Be I'm Falling In Love', but also featuring on the cult classic track 'Fire In My Heart' by Escape From New York.

Influenced by artists and bands including George Benson, Ronnie Laws, Weather Report, George Duke, Azimuth and Chick Corea to name a few, the guys booked into a studio near the Botanical Gardens in Birmingham and recorded the two tracks that make up this 7”. Only 200 copies of the original 7" were ever pressed and were sold mostly in Birmingham at Summit Records by the band’s friend DJ Frenchi, as well as at live shows. Despite its limited distribution channels, the record received solid support from fans and those in the music industry, including Morgan Khan of the influential record label, Street Sounds. DJ and journalist, Lindsay Wesker, reviewed the release and this led to the band travelling to London for several radio interviews. They played live shows across the country, including at the prestigious Ronnie Scott's in London, and supported both Shakatak and Weapon of Peace in Birmingham.

Thanks to all those involved bringing this release into fruition and for solving the mystery behind a wonderful Britfunk and UK soul record that could have otherwise been lost in the mists of time.

Pete Rogers is half of D&B Duo Technimatic, releasing numerous albums on Shogun Audio and further singles on a range of other labels such as Good Looking Records, RAM, Hospital and their own label Technimatic Music, garnering acclaim from the likes of Resident Advisor, Mixmag, Thump, UKF and tastemaking DJs such as Annie Mac and Giles Peterson.

Hip-hop legend Rakim is breaking new ground with his upcoming studio album, G.O.D.'S NETWORK (REB7RTH), by flexing his skills both on the mic and behind the boards. Widely lauded as the best lyricist of all time, The God MC himself is blessing the culture with the next step in his historic career.

“I feel like the battery in my back has been reenergized,” Rakim said about his new album, which arrives nearly four decades after the release of his classic debut with Eric B., Paid In Full. Since then, he’s continued to shape the landscape and culture of hip-hop as we know it, inspiring rising artists with his hype live shows and incredible studio albums. And while he’s produced some of his previous work—notably “Don’t Sweat the Technique,” “Juice (Know The Ledge),” and “Paid In Full”—this feels like new territory for the 18th Letter, whose production and scratching talents are nothing short of remarkable.

G.O.D.'S NETWORK (REB7RTH) is proof that Rakim is truly one of the most special artists we’ve known not just in hip-hop, but all of music. You can tell he feels that level of praise when speaking about the genesis of the album. “Having the ability to showcase my talents behind the boards coupled with the elite lyricism the world already knows and gives me infinite praise for alongside some of the best talents to ever do it is truly a blessing and for that I am humbled,” he said.

Rakim is more than an official triple-threat as an artist, because he’s also showing off skills as a curator. On this album’s seven tracks, he enlists a who’s-who of top hip-hop talent, including the dearly departed Nipsey Hussle, Fred the Godson, DMX, and Prodigy (of Mobb Deep). Rakim also linked with many of his contemporaries, such as Snoop Dogg, Method Man, KXNG Crooked, B.G., and Kool G. Rap, among others.

The album’s first single, “Be Ill,” is the perfect introduction, as it pairs Rakim’s raw rhymes and head-nodding production with slick guest features from Kurupt and Masta Killa. Elsewhere, Rakim slows it down for the soulful “Love Is The Message,” which features Nipsey Hussle, Planet Asia, Louis King, Snoop Dogg, Sally Green, Kobe Honeycutt, and the LA Grand Choir. And then there’s the chest-thumping “International,” a straight-up slapper with hard-hitting rhymes from Kool G. Rap, Tristate, and Joell Ortiz.

For fans of hip-hop, and especially of Rakim’s storied discography, there is so much to love on this record. You can hear his hunger as an emcee and producer on every track, as well as his desire to collaborate with so many respected artists. Despite having decades in the game and many classics to his name, it feels like Rakim is just getting started.

While the world awaits the July 26th release date, fans can catch Rakim performing live throughout the US from now until the end of year in support of G.O.D.S Network (REB7RTH). In addition to debuting new material, he’ll be performing all the classics from his beloved catalog.

Hip-hop legend Rakim is breaking new ground with his upcoming studio album, G.O.D.'S NETWORK (REB7RTH), by flexing his skills both on the mic and behind the boards. Widely lauded as the best lyricist of all time, The God MC himself is blessing the culture with the next step in his historic career.

“I feel like the battery in my back has been reenergized,” Rakim said about his new album, which arrives nearly four decades after the release of his classic debut with Eric B., Paid In Full. Since then, he’s continued to shape the landscape and culture of hip-hop as we know it, inspiring rising artists with his hype live shows and incredible studio albums. And while he’s produced some of his previous work—notably “Don’t Sweat the Technique,” “Juice (Know The Ledge),” and “Paid In Full”—this feels like new territory for the 18th Letter, whose production and scratching talents are nothing short of remarkable.

G.O.D.'S NETWORK (REB7RTH) is proof that Rakim is truly one of the most special artists we’ve known not just in hip-hop, but all of music. You can tell he feels that level of praise when speaking about the genesis of the album. “Having the ability to showcase my talents behind the boards coupled with the elite lyricism the world already knows and gives me infinite praise for alongside some of the best talents to ever do it is truly a blessing and for that I am humbled,” he said.

Rakim is more than an official triple-threat as an artist, because he’s also showing off skills as a curator. On this album’s seven tracks, he enlists a who’s-who of top hip-hop talent, including the dearly departed Nipsey Hussle, Fred the Godson, DMX, and Prodigy (of Mobb Deep). Rakim also linked with many of his contemporaries, such as Snoop Dogg, Method Man, KXNG Crooked, B.G., and Kool G. Rap, among others.

The album’s first single, “Be Ill,” is the perfect introduction, as it pairs Rakim’s raw rhymes and head-nodding production with slick guest features from Kurupt and Masta Killa. Elsewhere, Rakim slows it down for the soulful “Love Is The Message,” which features Nipsey Hussle, Planet Asia, Louis King, Snoop Dogg, Sally Green, Kobe Honeycutt, and the LA Grand Choir. And then there’s the chest-thumping “International,” a straight-up slapper with hard-hitting rhymes from Kool G. Rap, Tristate, and Joell Ortiz.

For fans of hip-hop, and especially of Rakim’s storied discography, there is so much to love on this record. You can hear his hunger as an emcee and producer on every track, as well as his desire to collaborate with so many respected artists. Despite having decades in the game and many classics to his name, it feels like Rakim is just getting started.

While the world awaits the July 26th release date, fans can catch Rakim performing live throughout the US from now until the end of year in support of G.O.D.S Network (REB7RTH). In addition to debuting new material, he’ll be performing all the classics from his beloved catalog.

There's Nothing Wrong with Love is the second full-length album released by legendary indie rock band Built to Spill. It was originally released September 13, 1994 on the Up Records label. The line-up for the album was Doug Martsch, bassist Brett Nelson, and drummer Andy Capps, with Phil Ek producing. The album features the enduring singles "In the Morning," "Car," and "Distopian Dream Girl." There's Nothing Wrong with Love was wonderfully received by critics upon its release. It went on to earn "Best Albums of 90's" notices from the likes of Pitchfork, PASTE, SPIN, and has sold nearly 140k copies to date.

The Last Wave (also known as Black Rain in the US) was the final chapter in a trilogy of films scripted and directed by the leading auteur of the Australian New Wave, Peter Weir. Beginning in 1974 with the absurdist black comedy-horror The Cars That Ate Paris, and followed a year later by the lush gothic mystery Picnic At Hanging Rock, The Last Wave was a landmark in existential horror. Sitting alongside other Australian eco-terror films (e.g. Long Weekend) the film featured a haunting electronic soundtrack that is as mysterious and beguiling as the spiritual themes of the film itself. With no LP issued after the films premiere in 1977, and together with the mystery surrounding the true identity of its enigmatic composer 'Charles Wain', the score is a largely unheard recording of pioneering experimental film electronics, easily compared to the music that contemporaries Klaus Schulze and Tangerine Dream were composing for Australian films during the same period or the electronic soundtracks of John Carpenter. Tense atonal electronics, synthesizer drones and manipulated Didjeridu all perfectly capture the film's ominous atmosphere, punctuating the slow hypnotic pace of this brooding supernatural thriller.

Bienvenue Recordings is back on wax with two originals and a deep driving remix from the home base. We are delighted to present Gratts ‘The Lifestyle EP’ via the label, a high quality addition to his plentiful repertoire of dance delights.

Gene Tellem met Gratts in the South Australian city of Adelaide in 2022 while visiting family and touring the country for some gigs. Gratts, originally from Belgium, also finds himself in the sun for similar reasons. Being from two different French speaking parts of the world, able to communicate in a familiar way but in a whole new place really laid down the vibe for this release. Songs as much for the radio as the club, for a cold wintry night or on the shores of an Australian sunset.

'Sunsets (FBI Mix)' is Gratts & Biancolato's tribute to Sydney veteran DJ Simon Caldwell's long running 'Sunsets' radio show on FBI Radio. Gratts and Caldwell DJ'ed together in Sydney on various occasions, whereas Biancolato is a veteran Melbourne DJ and producer. The track was inspired by the dubby West-Coast deep house sound from the turn of the millennium. Adelaide's Lesley Williams provides the vocal mantra.

'Sundays With U (Neapolitan Mix)' is a jazzy and percussive venture, loosely inspired by the West London bruk sound and Charles Webster. Andreas Poppelbaum, Gratts' studio neighbour in Berlin can be heard on soprano sax. The lyrics are performed by Italian friend Ambra, who delivers them in the Neapolitan dialect.

'Sundays With U (GT Remix)’ is Gene Tellem pulling at all the elements that make the original a scorcher, stretching it out, turning the stomp up, and offering a version for a deep dance floor moment. The voice, sax, atmosphere with the snap on the one. One moment it starts, and soon you won’t know how long it’s been that your eyes are closed, body moving through the room.

Neues Album erscheint am 31. Mai 2024 bei City Slang inklusive der Single 'Big Swimmer' featuring Gesangsharmonien von Sharon Van Etten!

King Hannah entwirft einen musikalischen Wandteppich, der nahtlos zwischen den ruhigen Tiefen des meditativen Pops und den weitläufigen, klangvollen Landschaften voller Dunkelheit, Witz und schrägem Humor pendelt. Merricks Gesang, ein rauchiges Vergnügen, verleiht ihren Worten tiefes Gewicht und Kraft, ergänzt durch die bluesigen Leinwände, die Whittle meisterhaft unter ihnen malt. Ihr Sound wechselt mühelos von Momenten post-rockiger Weite zu dem Gefühl, dass Springsteen auf eine düstere Seitenstraße abseits seines Highways zur Freiheit gerät. In jüngster Zeit hat das Duo die Bühnen neben geschätzten Künstlern wie Kurt Vile, Thurston Moore, Kevin Morby und DIIV geziert und das Publikum auf Festivals in ganz Europa und Nordamerika, darunter End of the Road, Green Man, Primavera Sound und Fusion, in seinen Bann gezogen. King Hannah wurde unter anderem von Stereogum als "Band to Watch", von The Guardian als "Ones to Watch" und von Paste als "Best of What's Next" gefeiert und in der Rubrik "NEU" des DIY Magazins sowie als "Rising Artists" von SPIN vorgestellt.

Soul4Real returns to the south with a selection of eleven songs from Malaco, Muscle Shoals Sound Studios and Alarm Records.
There is no doubt that in the 1970s and 1980s, Malaco in Mississippi and Muscle Shoals Sound in Alabama were both highly significant in defining the southern soul sound. Malaco’s Studio had opened in 1967, while Muscle Shoals Sound Studio opened its doors for business in 1969, when four musicians left nearby Fame Studios to go it alone. Alarm Records, meanwhile, based in Shreveport, Louisiana, provides us with four of the tracks on this album.
Independent producers and major record companies sent their artists south to record, taking advantage of both Malaco and Muscle Shoals Sound’s talented array of musicians, writers and producers. Muscle Shoals Sound, in particular, started to receive artists from Atlantic Records from the get-go; R.B. Greaves, Baby Washington, Sam & Dave and Solomon Burke led the way, along with Scotland’s Lulu. The first relesase on their own record label was the timeless “It Hurts So Good” by Katie Love. Meanwhile, Stax (amongst others) sent some of their artists to record at both studios, and Malaco would also lease some of its own productions out to Atlantic. Alarm Records was a smaller set-up which also produced some wonderful records.
This album opens with the only female singer featured – Dorothy Moore. Her exquisite “Girl Overboard” has been justifiably popular on the soul scene for decades. The other ten tracks showcase an array of fine male singers, most of whom (Bobby Bland and King Floyd aside), sadly and perhaps unjustly, never really made the big time. It is the first showing on vinyl for three of the tracks here (previously having only been issued on CD), and Jimmy Jules’ reading of “Having A Little Talk With Love” has never appeared anywhere before. As always, sit back and savour the music!

The Holiday Album That Turned Mariah Carey into the Queen of Christmas: Featuring the Standard “All I Want for Christmas Is You,” the Singer’s Blockbuster Merry Christmas Exudes Joy, Spirituality, and Conviction
Sourced from the Original Master Tapes, Presented in Audiophile Sound for the First Time, and Strictly Limited to 3,000 Numbered Copies:

Mobile Fidelity’s UltraDisc One-Step 180g 33RPM LP Set Plays with Superb Detail, Openness, and Definition
1/2" / 30 IPS / Dolby SR analogue master to DSD 256 to analogue console to lathe

Mariah Carey didn’t become the Queen of Christmas just because of her fervent love of the holiday. Or as the result of a brilliant marketing plan. The iconic singer earned her title by way of her blockbuster Merry Christmas, a 1994 album that quickly joined the likes of Bing Crosby’s White Christmas, A Jolly Christmas from Frank Sinatra, and Nat King Cole’s The Christmas Song as an all-time holiday vocal classic. Featuring a balanced mix of inspired originals and well-chosen covers, Carey’s fourth studio record has only grown in stature as new generations discover its magic. Mobile Fidelity’s 30th anniversary edition reissue of Merry Christmas makes her spellbinding performances and upper-tier register come alive like never before.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, and strictly limited to 3,000 numbered copies, the pioneering label’s UltraDisc One-Step 180g 33RPM LP set of Merry Christmas plays with superb detail, depth, and dimensionality. Available in audiophile quality for the first time since its original release three decades ago, and featuring the bonus track “God Rest Ye Merry, Gentlemen,” the nine-times-platinum set breathes with a newfound openness and transparency that enhance the spirituality, passion, and festive tenor of Carey’s singing.

Benefitting from superb groove definition, a nearly inaudible noise floor, and dead-quiet vinyl surfaces, the music takes on a heightened energy and anticipatory emotion synonymous with the holiday season. Carey’s signature vocals explode with liveliness and dynamics, the full scope of her acrobatic range presented in clear, transparent sound that practically places her on a small stage in your listening room. This collectible version also breathes with the kind of warmth, intimacy, and coziness you want from a landmark vocal album.

Recorded when Carey helped put “diva” back into everyone’s vocabulary, Merry Christmas gave the New York native another smash right out of the box. What nobody knew at the time was the degree of the album’s staying power — and how, many years removed from its initial promotion cycle, its legend would still grow and even spark a 2010 sequel. Having re-entered the Top 200 charts every year since 2019, Merry Christmas ranks as one of the three most commercially successful holiday LPs ever made and, in due time, will likely earn the top distinction in that class. A global blockbuster, it seamlessly ties together Christian, gospel, and secular threads and speaks to a boundless audience, independent of denomination.

Most obviously, the record remains inescapably connected to “All I Want for Christmas Is You,” an uptempo anthem that towers as a holiday standard and one of the biggest-selling singles in history. Punctuated with celesta chimes, sleigh bells, springy keyboards, and joyous beats, the song echoes the simple albeit engaging melodies and doo-wop style of beloved holiday classics of yore — and blends such elements with contagious dance-pop rhythms to create an atmosphere rich in joy, wonder, and excitement. Radiant with golden soulfulness and sincere conviction, Carey’s exuberant singing and on-point phrasing put it all over the top. And how.

The song stands as the only effort in Billboard history to top the Hot 100 chart during at least three separate runs. Carey’s blockbuster has already hit No. 1 during five runs, spanning every year between 2019 and 2024. That’s just one of the many records the singer holds — and only one of the multiple highlights from Merry Christmas, which includes two other Carey-penned originals, “Miss You Most (At Christmas Time)” and “Jesus Born on This Day.”

Though slightly lesser known, Carey’s remarkable rendition of Darlene Love’s “Christmas (Baby Please Come Home)” further links her album with the big, lush, Wall of Sound heritage that helped inspire its production. Carey’s heartfelt take and transformation of the traditional “Santa Claus Is Coming to Town” into an animated tune that even adults can believe, as well as her clairon reading of “Joy to the World” — cleverly augmented with bits of Three Dog Night’s 1971 hit of the same name — further reinforce her status as Queen of Christmas.

At the peak of her powers, Carey finds equivalent success when tapping more spiritual veins. Witness the reverence she brings to the timeless carol “Silent Night,” the piousness she invests in “Jesus Oh What a Wonderful Child,” and the sacred feeling she conveys throughout “O Holy Night.” You’ll also never think of “Hark! The Herald Angels Sing” and “Gloria (In Excelsis Deo)” the same way again after hearing Mimi pour her heart and soul into them, and pair the songs together.

Indeed, it’s Carey’s pliable voice, melismatic technique, and five-octave range — on display here in definitive fashion — coupled with her undeniable love for Christmas and understanding of the religious significance of the season that make Merry Christmas a must-have holiday staple. And on Mobile Fidelity’s LP, something you better add to your wish list.

Repress!

WRWTFWW Records is honored to announce the first ever vinyl release for esteemed Japanese producer, composer, and environmental music luminary Yoshio Ojima’s rare forgotten album Club, previously only released as a limited edition of 50 cassettes back in 1983. The electronica/proto-techno/experimental gem is available as an LP reissue supervised by the artist, sourced from the original masters and housed in a heavy 350gsm sleeve. Only 500 copies were made.

A precious and sought-after item among collectors and enthusiasts of early Japanese electronic music, Club is a stunning and timeless collection of avant-garde electronica, proto-techno, mecha-ambient, and ear-pleasing experimentations from Yoshio Ojima, the ambient/environmental master behind the pivotal Music for Spiral albums released in 1988 (aka Une Collection Des Chaînons I and II reissued on WRWTFWW), and producer of Hiroshi Yoshimura’s Pier & Loft, Motohiko Hamase’s #Notes of Forestry, and Satsuki Shibano's iconic Rendez-Vous.

Filled with quirky minimalist acid-synth-and-drum-machine-handiwork, bouncy collages of beautifully childlike techno and pre-IDM, and the irresistible DIY charm of humble beginnings, the 8-track album is a fun, adventurous and risqué-but-catchy-in-the-most-peculiar-way piece of Japanese electronic music history neatly capturing the incredible creative energy boiling through the country’s scene in the 1980s.


Experience the roots of Japanese electronica!

This re-issue faithfully replicates the original 1971 Island Records UK release in gatefold sleeve, inner sleeve with lyrics, 8 page booklet, promotional poster and sticker; it is pressed onto high quality 180g vinyl. 'Babbacombe' Lee was Fairport Convention's foray into the concept album so loved by groups in the 70s. Instead of looking at something fantastical or progressive, the group went back to the tale of John 'Babbacombe' Lee, the man they couldn't hang: The gallows failed three times after he was convicted of the murder of Emma Keyse in Torquay in 1885. Dave Swarbrick found details of the trial in a junk shop, and the band worked up the story into an album. Released at the end of 1971 with ephemera from the day telling the story, 'Babbacombe' Lee had episodes listed rather than tracks. It contained the most original material of a Fairport album to date, and was seen as taking folk-rock a huge step forward. Within weeks of the album's release both Dave Mattacks and Simon Nicol left the group, leaving Swarbrick and bassist Dave Pegg to lead Fairport on through their next chapter. Today, 'Babbacombe' Lee is one of the group's most enduring albums.

Moka Only is a hip-hop legend with a career spanning nearly three decades. Hailing from Vancouver, he's renowned for his prolific output, introspective lyrics, and unique blend of melodic rap and thoughtful storytelling. His music explores themes of personal growth, societal issues, and introspective reflections, making him a respected voice in the hip-hop landscape.

Moka's highly anticipated new album, "Arbutus Canyon” is a deeply personal tribute to his formative years on Vancouver Island, the album is a sonic exploration of the region's landscapes, culture, and memories. Inspired by the iconic Arbutus tree and the Arbutus Canyon, a real geographic location near Victoria, the album is a rich tapestry of sounds and stories. Moka's signature beats evolve while remaining true to his established style, creating a seamless continuation of his previous work, "In and of Itself."

Throughout "Arbutus Canyon," listeners will encounter coded references to adventures and experiences on Vancouver Island, as well as cryptic elements that invite deeper exploration. The album features a variety of interludes, including the extended "Arbutus Intermission," providing a unique listening experience.

A gas generator, a hi-fi system, a semi-abandoned house, and 20 hastily printed flyers. That's how, almost without realizing it, Lapsus was born in 2004. Over the course of two decades, we've ridden a rollercoaster of emotions: from soaring epiphanies, convinced that nothing could stop us, to moments of near defeat when we almost threw in the towel. Let's be honestMaking a career out of music is not exactly choosing the easy path. But epic tales aside, today we look back with pride at having created something that, in our humble view, is genuine. To celebrate Lapsus' journey and what lies ahead--and also keeping an eye on what is yet to come--we've gathered some of the artists who have joined us along the way, musicians we consider friends and for whom we have the deepest admiration. In a way, VINT (Catalan for ''twenty'') is like a sonic photo album, a tracklist that tells our story better than we could ourselves, a collection of unreleased music that celebrates the fact that we've made it this far. Leading this outstanding compilation are forward-thinking producers, with contributions from some of the most respected names in cutting-edge electronic music (A-Z): CLARAGUILAR, GAZZI, Kettel, Kode9, Le Motel, Lord Of The Isles, Marina Herlop, naemi, Nueen, Pepe, Plaid, Seph, Simo Cell, Suzanne Ciani, Wordcolour, and u-Ziq. VINT is our way of thanking you for your unwavering support over these 20 years. We hope you enjoy it!

Well-versed in vintage vernaculars, Oakland-based producer/musician Mike Walti is about to return with his sophomore offering under the Organi moniker – as new album “Babylonia” follows 2020’s “Parlez-vous Français?,” a landmark in vibe acquisition ever since.

Wyldwood Studios is a portal. It’s a secret gateway to analog spheres. Cross the threshold and you’ll feel the difference: you can pick any ol’ time, any place, any tongue or vibe, in fact. Hit the dancefloor in 1967, feel that plushy loveseat in the early 70s. It’s a welcoming place where better, saner vibes are still within reach. Fueled, at least in part, by those long-classic 12”s on the walls – just imagine the sepia-tinted countenance of Melody Nelson alongside actual Birkin sans wig, right next to Shadow’s immortal crate diggers, forever blurred –, and channeled through ancient time travel devices such as the MCI 416B only to arrive on classic 2-inch tape (MM1000 aka Ol’ Bessy), it’s a haven for all things organic, for all things imbued with that warm élan. Built and run by Oakland’s own Mike Walti, countless artists from many different genres have felt that flair, creating sonic spheres and moving back and forth along the malleable axis that is space-time. Capturing magic.

Emerging from this unique portal back in 2020, Walti’s aka Organi’s first studio album was a stunning answer to its titular question – “Parlez-vous Français?” It was a soothing, somewhat psychedelic trip so magnétique and alluring that it immediately brought back those bits of Franglais you never knew you remembered. Whereas the debut LP indeed felt like a spontané voyage to the French Riviera ca. 1968, its follow-up “Babylonia” is so much more than linguistic confusion and ancient Akkadian Rhythms. Using that hidden portal near Alameda’s finest port to access all kinds of remote regions and sonic spheres, it’s super tight and feels, well, decent, even though, just like the ol’ Babylon, it’s full of surprising tongues and dreams, schemes and melodies.

“Where do we go from here?,” someone asks in opening “Organii-“ – all majestically cinematic boom bap, buoyant bass, sick strings. A fittingly massive opener that feels like cracking open a cold one after long weeks at work (that ecstatic “ahhhh”), it perfectly sets the tone for another half hour of pure time traveling, globe-spanning bliss. Whereas that certain prédilection pour all things French makes “La Rockette” so tempting and tantalizing (think MalMalNonBien), the sophomore album’s Berlin-based guest singer Nana Lacrima soon takes us elsewhere: title track “Babylonia” spins ever so softly, like a magic lantern, with images of dreamier Stones Throw funksters or Savath y Savalas looming over the steady flow of an arrangement that washes you clean like an ancient, unpolluted River Euphrates or Brazil’s actual Amazon. A sexy Portuguese-flavored anthem, occasional guest singer Alix Koliha also enters the scene to add yet another layer of French chic to this Brazilian landscape. Next, we’re back at the Riviera, but the “Italiano” version of it, splendido sunsets and bell towers in the distance, the ragazze laughing and shaking it up, perhaps even some Portofino Gin so you can really feel that “me ne batto il belin,” as your fingers align form some half-serious “ma che vuoi?”

Tim Maia-penned “Padre Cicero” (1970) deals with the stunning transformation of the titular hero – “De reverendo a lutador,” and what a soaring, sensual hook –, and Organi’s take on Elephant Memory’s “Old Man Willow” (now an “Old Man Waltz”) perfectly underlines what Walti’s Wyldwood endeavor is all about: Easy-Going Experimental Dream Pop, fueled by Gainsbourg, Broadcast, Stereolab, etc.

Later on, even though something seems to be tres complique in “Remembering Anna,” it all sounds carefree like a spontaneous Friday afternoon with a bottle of fine wine. Right before the outro, key album guest Yea-Ming Chen (of Yea-Ming & The Rumors) returns to the mic, adding her dark and dusky trademark timbre to melancholy anthem “Pictures Of Your Face”. Reminiscent of Nico and Trish (rip & rip), it’s a track that’s both dark and strangely propelling, hypnotic and hip-shaking.

A third generation Bay Area native, Mike Walti aka Organi has been running Wyldwood Studios in Oakland CA for some 15+ years (recording artists like Tommy Guerrero, Spelling, Why?, Latyrx, Del, Dan The Automator, and Big Freedia, to name but a few). A multi-instrumentalist who’s obviously in love with the 60s/70s, he loves to work with analog equipment (“We just love us some analog!” “Just listen to those relays purr…”). Recorded and mixed by Mike Walti at Wyldwood, “Babylonia” will be released on vinyl/digital by Alien Transistor.

The Heliocentrics are a group for which genres are meaningless and boundaries invisible. Since first appearing on DJ Shadow's 2006 album The Outsider the group have gone on to release a string of records that float through jazz, hip-hop, psych, krautrock, and musique concrete whilst collaborating with numerous genre heavyweights from Mulatu Astake to Gaslamp Killer and picking up prestigious fans along the way, such as Madlib and the recently departed David Axelrod.
The primarily instrumental group, who operate out of their vintage analogue studio in East London called the Quatermass Sound Lab, bring in a new singer on album number four - a young Slovakian singer called Barbora Patkova. The result is an album that takes the band, already solidified in ever-expanding grooves and rhythms into new previously unexplored dimensions.The group's deep-set ability to craft music intuitively and impulsively stems from a desire to avoid typical processes or generic structures. Since its conception, the band's music has mainly been created from live improvisation. This musical approach gives the band its own sound and identity -'for anything to happen it must be at that time from the people in the room, and on the spot'. A decade of such sonic adventures has resulted in a tightly knit bond that the group refer to as almost a form of telepathy' with musical changes that otherwise would be near impossible to write.

ADE is just around the corner which means it’s time for the annual Vega Records 5 Pack Unreleased limited vinyl release.

Unreleased V is ready for you to play at your vinyl parties with a lineup of super talented individuals including Bebe Winans, Msaki, NV, Funki Cadets, Axel Tosca, Boddhi Satva, Tommy Bones, Johnny Dangerous, Dj Erv, Natasha Watts, Mobi Dixon, and Josh Milan. This year we hit you with 18 Unreleased tracks, special versions, dubs, and more for your dance floors and house parties. With 5 new reworks by Dj Erv to new young talent NV, to seasoned songwriter and genius talented artist Msaki, to the incomparable Bebe Winans, to Brooklyn producer Tommy Bones, to the maestro on keyboards Axel Tosca and more, this 5 pack brings you around the world within 18 tracks from Brazil to Africa to Cuba and back to New York City ! The pressing is pristine mastered by Herb “Pump” Powers and vinyl manufactured at Optimal Germany assuring you top quality excellence! This is a limited edition so get yours asap before they sell out! Available soon at a record store near you!

Published: 21st October 2024