Cerca:night drive

Canadian producer Dylan Khotin-Foote has kept his Khotin alias going for the better part of a decade; the impressionistic electronic project shifts with the movements in his life. Sometimes it leads, like when the club-friendly grooves of 2014's Hello World immersed him in the heart of Vancouver's underground dance scene, and sometimes it follows, like 2018's Beautiful You, a downtempo salve for DJ fatigue. His melodic sensibility and playful ear for atmosphere remain the rippling core of the project's fingerprint; whether beat-driven or ambient, a foggy smear or a dusted and pristine print, a Khotin track has a distinct and instantly recognizable swirl. During and after the 2020 release of Finds You Well, his second LP on Ghostly International, Khotin-Foote settled back into a slower vibe in his hometown of Ed- monton. Even before the pandemic, his pivots to softer production, and away from DJing, left him with fewer opportunities in Vancouver and club bookings overall, and as a self-identifying introvert, he was fine with that. But the change of pace did open space for Khotin-Foote to grapple with concepts of adulthood and career. At his lowest, he almost walked off this musical path altogether; instead, he doubled down on the craft _ the tone, pacing, and dynamism of new material _ arriving at a definitive full-length. With Release Spirit, Khotin releases himself from the pressure of expectation, fusing and refining everything we know about his music. The warmth and familiarity of Khotin's dreamy, dulcet style meet new ideas and frameworks, a natural progression, a modest revelation; Khotin confirms it is okay to move slowly and he's never sounded better doing it. The album title borrows from the "release spirit" mechanic in the video game World of Warcraft. When players die, they are prompted to release their spirit and return as ghosts to find their corpses and come back to life. Khotin sees it as a worthy metaphor for the impending change his return home presented and the resulting process of purging artistic expectations to find his creative self again. On this go- around, he is freer, more playful, and more intentional within his palette of warped synth, breakbeats, and piano sounds _ including the classic Casio SK-1 presets he's used since the start _ mingling with wistful samples, field recordings, and other abstract snippets. For the first time, he enlisted Nik Kozub to do the mix and assist with sequencing. Khotin-Foote has long worked with the Edmonton-based musician and engineer in the mastering phase, as well as their days co-running the label Normals Welcome, and this time was able to involve his ears earlier given their newfound proximity. "I think it's my best sounding record to date." We begin on "HV Road" or Happy Valley Road, where Khotin-Foote spent time during a family vacation in British Columbia's Okanagan Lake. His plans to record crickets at night are quickly foiled by his younger siblings; the cute exchange orients the listener to a core memory of sorts, setting the tone of universally understood warmth and wonder that has defined some of Khotin's most transportive tracks. Hazy percussion takes hold, and we are swept further into the wisp of "Lovely," a grooving, melodic standout built on the interplay between the beat and human voice-like hums. Khotin knows this zone well; equally suited for a reverie or a club warm-up. The bubbling atmosphere and absurdity of "3 pz" offer a cosmic/comic interlude and also speak to reflections on his family's move to Canada two generations ago, and the audio tutorials they used to learn English. "I can only imagine my grandpar- ents repeating some of the bizarre phrases." "Fountain, Growth" finds Khotin in collaboration with Montreal's Tess Roby (Dawn to Dawn) for the project's first-ever vocal track. Roby's soft cadence echoes atop spiraling air pockets of rhythmic production, lending a breezy, almost shoegaze pop feel. Throughout the single and the album, wind gusts between the compositional layers, akin to the roaming spirits of its namesake, curving around the birdsong of "Life Mask" and seamlessly reaching "Unlimited <3." The latter bumps in slow motion; disembodied whirrs from his Casio collide with 808 drums and sub-bass for a vibe that teeters on trap and instrumental hip-hop. Release Spirit rests in a dream sequence. Oscillating synth lines dance around the heartbeat of "Techno Creep," a hyperactive REM state before the digitized ambient sprawl of "My Same Size." In the final pass, Khotin imagines transcontinental travel from the glow of his screen. He recorded "Sound Gathering Trip" to soundtrack a genre of YouTube videos he's taken to that follows train routes through Europe and Japan. The scene is serene and moving; piano keys warble as static-filled sound design shimmers off the rails, from cityscapes to the countryside, an introspective ride through a world beyond his bedroom. It doubles as an apt parting image for Khotin's project as a whole: dreaming big but happiest when riffing on the details, shaping environments from the inside out. Over the last decade, he has stretched from his core in Edmonton, leaving a trace in Vancouver and beyond; but when all signs point home, he loops back to see it all from a different vantage, revitalized, refined, and free.

Infinite Machine is proving again it's a label that refuses to sonically sit still. Having released everything from code-based compositions to bass-heavy techno in 2022, the imprint is readying the release of the black metal-tinged Ehkta by BOLT RUIN later this month. A musician whose work has been described as 'apocalyptic' more than once, on this new mini-album, the Belgian producer blends field recordings, twisted samples and rave signifiers with an eerie tonality born out of his nocturnal production sessions and time spent absorbing the silence of his studio garden.

Bridging the gap from his previous record to this one, 'Sktone' is a cinematic opener that unfolds like a bad dream in slow motion. Warped samples of Bulgarian choirs glide over synths wired in closed-circuit loops which feed back on themselves, degrading for infinity. Texture and space is added via field recordings of waves crashing over the ruins of Brighton West Pier. This track exemplifies the unexpected influence BOLT RUIN took from the wildlife he witnessed in the garden of his urban studio when working on Ehkta. Adapting to the material at their disposal, weasels and blackbirds create nests from organic waste and human trash - an astute metaphor for the Belgian producer's compositional approach.

Next up, BOLT RUIN drives up the tempo with the rave-ready 'Nehng', where a frenzy of trance arpeggios and frantic drum programming builds and intensifies over its 5-minute duration. Inspired by Yves Klein's 'Leap Into a Void', 'Nehng' definitely evokes that bodily rush of freefalling into the unknown. 'Nehng''s driving rhythm is switched out for the brooding 'Tzarhk' - an ode to the soundtracks of B-movies composed on a vintage Roland SH-2 (a prominent character of the Stranger Things soundtrack). BOLT RUIN runs thick, syrupy synth slabs and punishing drum patterns through a rain-soaked limiter the producer found lying on the street by chance.

Another master-class in self-destructive arrangements comes in the form of 'Rfohmdrá' as delicate pianos and synth tones atrophy through daisy chained pedals which erode the signal. Valgeir Sigurðsson's mastering skills shines through here, taking BOLT RUIN's sci-fi-meets-metal sonics and amping them up to a scale on par with the Björk or Ben Frost records he's previously worked on.

Conceived of as the mirror reflection of the LP's opener, 'Maevr' pushes the approach of 'Sktone' to an even more nightmarish extreme. Embracing chance, the clattering layers of beats are sampled of a knocked mic on a window as BOLT RUIN attempted to capture a recording of rain from his studio. A happy and very effective accident for the foreboding mood of the track!

BOLT RUIN rounds off Ehkta with 'Ekztamnh'; an ode to that specific sensation of entering through a corridor to a rave and hearing the rumble of a soundsystem from afar. Snarling melodies are run through a reverse granular delay effect which fragments the signal, reverses it and plays them back in irregular order; much like the shattered memories of a late night in a warehouse.

A musical magpie who finds inspiration in the most unlikely of sources, Ehkta is a restless exploration of salvage-punk aesthetics where doom-laden black metal melodies, amen breaks and an experimental approach to sound design sit in an irregular and uneven musical apocalypse. For fans of Blanck Mass or Caterina Barbieri - this is a must-listen material from a fresh producer establishing himself with a singular musical voice.

A travelogue that unites physical and inner space, a series of trance states rendered in vivid colour, a delirious portal into the ether.
Marlene Ribeiro’s first albumunder her own name is all of this and much more. Toquei No Sol is a fresh new chapter for this unique artist, by far the most melodic and transcendent outing yet for her hypnotic dreampop.

This is only the latest release in a long history of sonic experimentation for Marlene, which includes her previous work as Negra Branca across a series of releases on labels such as Tesla Tapes and Zamzam and a long period as a member of audial iconoclasts and Rocket mainstays GNOD, not to mention collaborations with the like of Valentina Magaletti and Thurston Moore.

Toquei No Sol is also a record with a very distinctive and potent sense of place, paradoxically despite having been woven together from recordings made in Ireland, Wales, Portugal, Madeira and Salford.
It’s genesis came via a visit to Marlene’s maternal grandmother Emilia, whose influence as well as the sounds of her kitchen in Portugal.
can be heard on the album’s first track ‘Quatro Palavras’.

“Emilia ended up getting excited about me being able to record things there and then and - total news to me - told me she used to sing a lot when she was younger to the point of getting offered studio time but refusing it as she was fearful of what that could imply in those times” relates Marlene “From that point I planned to include her in this record as sort of the chance she never had of getting her voice out there.”

Elsewhere, a disarmingly catchy and irresistible grace is married to
a utilitarian approach to sound and texture. The ritualistic “Sangue De Lua de Lobo” (first released on a Sofia records compilation Songs Of The Lunar Eclipse) contains random objects from Marlene’s then-garden in Ireland, whereas on the drifting, beatific ‘Forever’ the percussion tracks are constructed from the sounds of pots and pans in her own Salford kitchen.

Yet at all times her fleet-footed approach to melody rings through even as the tracks conjure visions of heat-hazes, meditative spaces and late-night epiphanies. Although listeners may hear echoes of the
loop-driven psychedelia of Panda Bear’s Person Pitch or the incantatory ululations of Pocahaunted in these beguiling soundscapes and magick-strewn mantras, the truth is that the aesthetic here is
very much Marlene’s alone.

“It’s all a big misty haze of nostalgia, playfulness, self-reflection and hopefulness” is what Marlene reckons herself. Yet Toquei No Sol
is also a transporting vision from an artist both returning to her roots
and looking out to new celestial horizons.

Widely considered to be one of the best albums of the 90s, 1992's Automatic For The People features R.E.M.'s iconic hit singles Nightswimming,' Man on the Moon' and Everybody Hurts.'

Commemorating the album's 25th Anniversary, this remastered Deluxe edition boxset features previously unreleased material, including 20 never-before-heard demos, and the previously unreleased tracks Mike's Pop Song' and Devil Rides Backwards.' A Blu-ray disc offers the full album (with bonus track Photograph' featuring Natalie Merchant) mixed in Dolby Atmos, plus a high-resolution master of the album, music videos, and the original 1992 EPK. Also included is Live At The 40 Watt Club 11/19/92 - a live set performed in R.E.M.'s hometown of Athens, GA.

Waxwork Records is proud to present the Us Original Motion Picture Soundtrack featuring a score by composer Michael Abels. Us, released in March 2019, is an original nightmare written, directed and produced by Academy Awardr-winning visionary Jordan Peele (Get Out). Set in present day Santa Cruz on the iconic Northern California coastline, the film, starring Oscarr winner Lupita Nyong'o and Black Panther's Winston Duke, pits an ordinary American family against a terrifying and uncanny opponent: doppelgängers of themselves. A blockbuster that earned raves from critics and audiences alike, Us earned more than $250 million at the worldwide box office to become one the highest grossing R-rated horror films of all time, buoyed by an unexpected and innovative soundtrack and by a groundbreaking, terrifying original score by Abels. Us marks the second collaboration between composer Abels and Peele, who first worked together on Peele's 2017 Oscar-winning horror film, Get Out. For the Us score, Abels explored themes of duality and discord. "Sonically, what defines 'scary' is the unfamiliar," Abels says. "It is the things that we can't place, and that we don't expect, that take us to that place of fear. We wanted to really strike terror into the audience." Central to the score was the opening track, an anthem for the doppelgängers, known in the film as The Tethered. Abels hit on the idea of using choral elements. "Jordan really loves the sounds of voices, and the human voice is an incredibly expressive instrument that anyone can relate to," Abels says. "The anthem sounds a little like a march of people preparing for battle, like an uprising maybe, but the sounds are not in a recognizable language. In other parts of the film there are vocal effects, just these strange sounds. They're designed to really freak people out." Abels featured a 30 person choir, a third of them children, in the "Anthem," and implemented Eastern European instruments, violins, percussion and a virtual instrument called a Propanium drum. "It makes this trashy metal sound, but you can also play melodies on it," Abels said. "The Propanium drum has a sound that's both otherworldly but not electronic or like science fiction. It's a sound you can't quite put your finger on, which is why it works well in this film." Also included on the soundtrack is the 1995 hip-hop hit "I Got 5 On It" by Luniz and the stand-out track "I Like That" by Janelle Monáe. Abels also helped with a new arrangement of the Luniz hit, which is featured on the soundtrack as the 'Tethered Mix from Us'.



































[xi] 35 I GOT 5 ON IT (FEAT. MICHAEL MARSHALL) [TETHERED MIX FROM US] - LUNIZ

KingUnderground presents a stunning collection of 8 releases pressed onto 7” vinyl from the Cavendish Music catalogue. Paying homage to the genre of Library Music, furthering its exposure to a new generation of listeners.
Library Music experienced its heyday in the 60s and 70s, as thousands of instrumental tracks were produced by musicians and composers for the purpose of placements in Radio, Television, and Film. This rich piece of European music history would go on to inform genres to come and speak heavily to the Jazz, Funk, and Hip Hop communities of the future.
This was often a musician's first opportunity to become a composer, or what most would commonly know now as producer of music. These composers would work with a stable of musicians to record 100’s of tracks that would go into a publishing Library. The pieces of music were recorded quickly and deliberately. The composers, musicians, and engineers understood their role in the process, it was an act of discipline amongst all involved. Often the composer was given a brief on what the end goal was for the client. The specifics would include tempo to lock into, song ending time, ect.
Never before have these tracks from the Cavendish Music Library been pressed on 7” vinyl at 45RPM. In all there will be 8 individual 45s, licensed from Boosey & Hawkes & Cavendish Music Library. The collection includes compositions by Tony Kinsey, John Scott, Sam Fonteyn, Ray Davies, and more.

There’s a boldness to Library music. It's in the forward nature of where the drums sit in the mix and the percussive playing of the keys that gives you something to grab hold of, it feels grounded yet exciting. It’s music beamed in from a different galaxy!

Arkada records is excited to announce our 4th release - forthcoming split vinyl EP featuring the sounds of ADJ & Adrien d’Elzius.

We are very happy to present the first part of the EP with the unique sounds of one of the pioneering artists in the UK underground Electro scene, the label owner of Pyramid Transmissions - ADJ

ADJ originates from and is based in London. He has been playing Underground Electronic Music for over 35 years as a DJ, starting in the days of Early Electro and Hip Hop. He has also been producing and releasing music for 25 years, releasing over 200 tracks in this time on a plethora of labels including Touchin Bass,For Those That Knoe, Another Perspective, Ai, Outside, Cultivated Electronics,Yellow Machines, Crobot Muzik, Diffuse Reality, Netlabel ,Digital Distortions and more...has done remixes for Flint Kids, Scanone, LASynthesis, Carl Finlow, Fleck Esc, Arsonist Recorder , Paul Hierophant to name a few.

He has run the Pyramid Transmissions Record label with label partner Pathic for 20 years and also ran the Analogique record label for 5 years from 1995-2000 releasing Techno, Electro and Electronica as 3 Elements.
ADJ also performed his first LIVE set in a few years in March 2020 MUTABOR in Moscow.

As a DJ, he has played at many festivals including a BLOC residency, Glastonbury For BLOC, Bestival, Shambala, Infiltrate at WMC Miami. 2019 saw another tour of the US with Silicon Scally,Ben Milstein, EVAC, Ion Driver and 214. He also runs the Dodo Club and Frequency Resonate(with Errorbeauty) nights in London and Berlin aswell as playing in Lille, Kiev, Moscow, St Petersburg Berlin,Zagreb,Athens, Napoli, Brussels, Budapest, Vienna, Valencia, Sofia, Paris and many more..

Second part of our EP presents the futuristic glitched-out sounds of the one of a kind Belgium producer Adrien d’Elzius also known under his allies HosmOz.

Adrien d’Elzius was born in the gloomy south of Belgium spending his youth hanging around in a camping and listening to Hip Hop, he started his life in a mess of paradox. At 10, he learned to play drums under his punk’s brother regard, and experimented different kind of rock until 18. That’s where someone showed him a track of Aphex Twin, who blew his mind and made him believe he had finally found the music that suited him. From there, he compulsively spend hours playing around with his computer and slowly made himself a place in the very small community of underground music lover of Brussels under the nickname hosmOz after winning a contest. From his melodic and acidic drill’n’bass beginning, his sound slowed down and got darker, challenging himself to try to create something he couldn’t before. He recently re-released his Lp on Diffuse Reality that make it available on physical form and also his debut album on Burial Soil with remixes by Umwelt and Lloyd Stellar.

The masters of the release are kindly made by Thomas Dunstan. Artwork made by our amazing designer Lawrence Cli

‘Advanced Process’ presents itself as a distinguished LP, oozing with Marcello Giordani’s innate talent to evolve the classic Italo Disco sound into consistently ear catching productions of the future.

With a warm welcome from the shimmering synths of ‘Morning News’ and a defined, driving bassline, you know you are safely sitting in Giordani’s passenger seat.

Crisp, analog drum machines and glistening synthwork are a constant.

Giordani captivates you with compelling arrangements and considered hints to electro in the likes of ‘Metamorphosis’. Powerful vocals from Fred Ventura and Ready In LED feature on the two alluring singles ‘Mysterious Calls (In The Night)’ and ‘Fase Rem’. Encapsulating, intelligent acid work is heard in ‘Forbidden Pleasures’. Marcello’s clear love for analogue authenticity is at the forefront of this LP.

Delicately positioned arrangements and intelligent melodic pay offs in tracks like ‘Terza Classe’ are a plenty. A seasoned knowledge and intuition of the nature of the nightclub is apparent with the energy sustained throughout ‘Advanced Process’. A beautiful melt of golden era Italo Disco and Detroit Techno is heard in the sweltering melodic brilliance of ‘Via Mecenate’.

The title track is an immersive journey preparing you for the final side of the LP.

Sizzling keys and pulsating basslines drive this record making it hard to lower the volume. The dazzling, ethereal chimes of the final track ‘Aperitivo In Gracia’ are enticing and filled with picturesque mediterranean imagery.

Being no stranger to the inner workings of a packed out dancefloor Marcello Giordani delivers an immense, infectious LP. ‘Advanced Process’ truly lives up to its fitting title.

Rhythm Nation is back on vinyl, with a master of the deeper side of UK house and Detroit-inflected techno, Jayson Wynters.

Following up his 'Exit Wound' digital-only release of last year, which also featured remixes from Phantasy Sound's James Welsh, Jayson drops two brand new tracks as well as a physical pressing of those two originals from the previous release.

'War Heads' is a true late-night wormhole of a track, embarking on a journey of percussion and atmosphere, leading inexorably to the emergence of the warmest pads and the deepest bass.

'Bandwidth' flips the switch to a fresh take on classic electro, maintaining the signature Hayson Wynters sound of drum machines and classic synths that seem to hit just slightly left of where the listener expects.

Orginally released digitally in 2022, 'Exit Wound' and 'Lost City' offer a similar contrast - the former is a bassline-driven peak-time stomper, while the latter takes things deep into real electro with an infectious groove and evergreen textures.

Rhythm Nation is part of the Hotflush Recordings label group, curated by Paul Rose aka Scuba, celebrating 20 years in 2023.

Oslo-based four-piece Legs 11 return to Beatservice Records with their third studio album, serving seven beguiling tracks on the delightfully off-kilter 'Welcome Home'.

Comprising of deviant players Sigmund Floyd, Torstein Dyrnes, Nils Tveten, and Audun Severin Eftevåg, Legs 11 have been Beatservice mainstays since making their label debut back in 2016. Fusing a disparate blend of esoteric sounds that include synth-pop, post-punk, new wave, house and more, the quartet journey from the murkiest depths into the pop-leaning stratosphere, taking in all manner of mind-altering detours along the way. Throughout their production journey, they've revelled in the unexpected, and 'Welcome Home' masterfully continues this aberrant trajectory.

Kicking things off in energetic mood, the new wave swagger of 'Flawless Logistics' dives deep into late-night rave abandon, Unhinged vocals and throbbing synth bass drive the cut through a futurist landscape of stripped rhythms and sinister tones before an atmospheric sax solo rises in to augment the searing lyrical message. Casting a critical eye on consumer-driven culture and mercenary musical forms, the vital composition is at once an unmissable social commentary and an irresistibly floor-filling groove.

Next, the glistening synths and sing-along vocals of 'Coup' saunter over bouncing bass notes and crisp machine drums. Acid licks rise in to add thrust to the club-primed groove while brooding pads and sultry spoken words meander through the sonic space. Elegantly sashaying into post-punk swirls, the hallucinatory swagger of 'Sax Consensual' bursts with theatrics. Seductive dart across the hyper-atmospheric backing track of pointed instrumentation, with glassy synths and fizzing drums joined by an evocative sax solo to vividly conjure late-night moods.

'Into The Darkness' bubbles with sinister intent, as striking bass and stripped rhythms charge through nocturnal synths, the serrated vocals purposefully projecting through the powerfully vivid subterranean mist. Maintaining the floor-focused tempo, 'This Is Your Home' sees sleazy vocals soar across an alien landscape. Distorted toms drive the groove as mysterious swirls and metallic textures fizz across the off-world horizon. Growling bass arrives alongside a searing sax lead as the endlessly-morphing rhythm undulates and evolves.

'The Crawley Within' sees darkly suggestive vocals enveloped by ominous synths and snarling acid licks, the determined rhythm steering the sparsely-woven instrumentation across alien topography as sensual whispers permeate the groove as the music undulates to an aberrant climax. Finally, completing a strikingly coherent collection, 'fuckboi' brims with attitude, with unhinged synths joined by growling rhythm guitar as the erotically-charged vocals project the steamiest of post-club invitations.

This is entirely unique work from Legs 11. Deviant, potent, and fiercely energetic, each track is propulsive enough to ignite dancefloors while embodied with more than enough profundity for headphone immersion. Utterly compelling.

Producer and multi-instrumentalist Ben Marc, who's emerged as a key figure of London's cutting edge jazz scene, has just announced his debut full length, a follow up to last September's widely acclaimed Breathe Suite EP (heralded by NPR, Pitchfork, The Wire, The Guardian, and more)

Glass Effect is an assured and accomplished 13-track realization of a singular vision that unifies a multitudinous profusion of influences (free-jazz, broken beat, hip-hop, electronica and beyond) into a sublime whole, underscoring the evolution of his quest for a distinctive sound: lambent, low-key, and yet dizzyingly intricate.


It's a rare talent that can link Radiohead's Jonny Greenwood, Ethio-jazz pioneer Mulatu Astatke, Afrofuturists Sun Ra Arkestra, and grime legend Dizzee Rascal, but Marc has long blurred musical worlds and criss-crossed boundaries. One of the reasons that he started writing Glass Effect, says Marc, was going to nightclubs in Ibiza and experiencing the heady sun- dappled euphoria of a summery dancefloor, as well as the beat-driven production of artists like Four Tet, Bonobo, Machinedrum, DJ Shadow, and Madlib.

The trashed hotel room and communal living depicted on the cover of the J. Geils Band's sophomore album tell you all you need know about the music, spirit, and energy spilling from within The Morning After. Shot through with raw, lean rock n' roll sparked by juke-joint blues and loose rhythms, the 1971 set comes on like the most fun, party-still-raging hangover any group in the 70s enjoyed. And now it rolls with an abandon that takes you inside the sweaty, smoky roadhouses and wall-to-wall-packed clubs the group dominated in its heyday.

Mastered from the original master tapes, pressed at RTI, and limited to 3,000 numbered copies, Mobile Fidelity's 180g vinyl LP achieves a sonic acumen that brings you face-to-face with the sextet's white-hot instrumental prowess and magnetic personalities. It's always been difficult to single out just one member of the band given the cohesive bluster the ensemble achieves as a whole, but this collectible audiophile edition allows you to do just that if you so choose, by way of superb imaging and separation. As for the band's trademark dynamics? Here, they feel like they're on the verge of exploding.

So go ahead. Twist the volume knob to the right as much as you want. You'll lose none of the focus, detail, placement, or presence no matter how high the decibels climb. The Morning After spills forth with previously unheard tonalities, ranging from the distinctive swells of Seth Justman's slow-burn organ to the live-wire spark of Geils' own downed-power-line-jumpy guitar work to the mooring hi-hat/cymbal/snare combinations of arrangement-steadying drummer Steven Bladd. Friends, this is raw rhythm n' blues, this is how it should feel, and, man, this is how it should sound.

Not for nothing did the Massachusetts-based collective name the album The Morning After. The music within doesn't abide by rules, ignores speed limits, flips the bird at curfews, and digs deep down into America's blues roots to yield organic material at once fresh, exciting, traditional, and original. The back-porch punch provided by the combination of "Magic Dick" Salwitz's searing, melodic, snake-like harmonica and vocalist Peter Wolf's animated, barely controlled deliveries is alone enough to make anyone with a faint pulse to stomp their feet, climb atop a kitchen table, and kick their boot heels until the neighbors call the cops.

Just witness the deceptive smoothness of the snake-like "So Sharp" or Maxwell Street zest of the aptly titled Magic Dick showcase "Whammer Jammer," which will leave you gasping for breath before it even ends. J. Geils Band also knew its way around deep-cut soul. The ensemble's Top 40, howling, adrenaline-to-the-heart rendition of the Valentinos' "Looking for a Love" and swirling, romantic take on Don Covay's "The Usual Place" seamlessly balance drive and emotion. Coupled with rafter-shaking originals such as "Floyd's Hotel" and the riff-propelled "I Don't Need You No More," sent up with typical Wolf vocal flair, and the record parks the band's all-night festivities and go-for-broke attitudes right on your front lawn.

One last word of warning to the uninitiated: The Morning After is not the slick-pop J. Geils Band of "Centerfold." And that is a very good thing.

Less than a hundred miles inland from the capital city of Lima lies the great Peruvian jungle, an untamed land of impenetrable forests and endless winding rivers. In its isolated cities, cut off from the fashions of the capital, a unique style of music began to develop, inspired equally by the sounds of the surrounding forests, the roll of the mighty Amazon and Ucayali Rivers, and the rhythms of cumbia picked up from distant stations on transistor radios. With the arrival of electricity, a new generation of young musicians started plugging in their guitars and trading in their accordions for synthesizers: Amazonian cumbia was born.

Powered by fast-paced timbale rhythms, driven by spidery, treble-damaged guitar lines, and drenched in bright splashes of organ, Amazonian cumbia was like a hyperactive distant cousin of surf music crossed with an all-night dance party in the heart of the forest. While many of the genre’s greatest tracks were instrumental, and others were simple celebrations of life in the jungle, the goal of every song was to keep the party going.

Radio stations in Lima remained unaware of the new electric sounds emanating from the jungle, but a handful of pioneering
record producers ventured over the mountain passes to the cities of Tarapoto, Moyobamba, Pucallpa – even Iquitos, a city
reachable only by boat or plane – and lured dozens of bands to the recording studios of the capital to lay down their best
tracks. Although many became local hits, few were ever heard outside the Amazonian region … until now.
With eighteen tracks from some of the greatest names in Amazonian cumbia, Perú Selvatico is both the improbable soundtrack
to a beach party on a banks of the Amazon and a psychedelic safari into the sylvan mysteries of the Peruvian jungle.

"Meat. The story needs meat. (And blood ... coagulated blood (Gore)). The substance we are seeking here lies beyond the bare bones of fact, thewhen and the where (founded in 1988, Mülheim an der Ruhr) or personneland instruments (a trio since 2016, built around keyboards, saxophone, bass & drums). The story is more than the sum of its facts. Mysteries may very well lurk here or there along the way. What keeps the final two foundermembers going after all this time Do Morten Gass and Robin Rodenberg have skeletons locked in their closets How dearly we would we love to know the answer to that one, alas the most beautiful puzzles tend to remain unsolved.Including their debut Gore Motel' (1994), BOHREN & DER CLUB OF GORE have amassed an impressive eight longplayers. Four album titles allude to the night - their debut was followed by Midnight Radio' (1995), Sunset Mission' (2000), and Black Earth' (2002), whilst the most recent instalment carried the name Piano Nights' (2014). The nocturnal quartet was punctuated by Geisterfaust' (2005), Dolores' (2008) and a mini-album entitled Beileid' (2011), adding rather eerie overtones to the after hours ambience. The BOHREN & DER CLUB OF GORE legend has grown stronger both at home and abroad with every record they have released and every show they have played. Strange as it may seem, there is a uniform consistency to their reception. Whatever the band does, critiques are unfailingly positive, yet repetitious. References, links and associations recur almost word for word. Consider the arrival of Christoph Clöser in 1997, by way of illustration. When he joined the group, his saxophone replaced the departing Reiner Henseleit's guitar as one of the defining instruments in the band. This was arguably the sharpest break in their sound to this day and a significant marker in terms of the band's reverence for Dutch instrumentalists GORE (the clue is in the name), whose repetitive riffs paved the way for how the guitar would be deployed in a post-everything future. Nevertheless, this fissure in the BOHREN continuum has barely merits a mention in the greater scheme of things. Similarly conspicious by their absence in the BOHREN chronicles are the numerous instruments which they added to the mix - vibraphone, organ, tuba, bass trombone to name just a few. The introduction of choirs at least had a clear visual impact. Since Thorsten Benning left at the end of 2015, the band has continued as a trio, sharing shifts on the drums (although they have equipped themselves with mechanical brushes). A decrease in personnel was conversely accompanied by quantum leaps forward in the group's musical development - or more precisely, minor adjustments triggered major effects. Such changes may not get any easier to spot in the future, such is the intensity of internal imagery sparked by the music, a maelstrom of distractions so powerful that its promises are too sweet and too dangerous in equal measure. The music of BOHREN & DER CLUB OF GORE opens up remarkable rooms of association, from a warm burrow to a pristine secret lodge, from a
dusky woodland tavern to a smoky quayside dive. Individual and collective floods of images rush forth irresistibly. Loneliness is not at all problematic: empty multi-storey car parks, nighttime drives, remote bridges to nowhere. All in your mind. This is the temptation, a sweet, guilt-free addiction. It's all in your mind - and only there. These sinister crackling songs are invitations to secrete oneself in darkness. With track titles such as 'Maximum Black', 'Zombies Never Die' or 'Dandys Lungern Durch Die Nacht', the mind wanders inexorably into filmic spaces.
Echoing the masters of midnight cinema, stories evolve all by themselves. As the American Film Noir Foundation observed so smartly: 'the vivid co-mingling of lost innocence, doomed romanticism, hard-edged cynicism, desperate desire, and shadowy sexuality.' Their definition of Film Noir serves just as well as an appraisal of the group, 'Bohren For Beginners'.
Which says it all really, doesn't it A final word of warning! Sources close to the band describe the double CD
released in October 2016 as a gateway drug to the Bohren universe. Enter at your own risk, some have never found their way out again."(by Lars Brinkmann)

Primetime Entertainment’ is PET NEEDS’ second studio album and is produced by friend and fan Frank Turner. Simultaneously loud and quiet, raucous party anthems sit alongside thought-provoking personal songs; it’s the sound of a band stepping up a gear to match their catapult on the big stages across the world. Having already toured Europe supporting Frank Turner in the first half of 2022, including Germany, Netherlands, France and more – the touring continues joining Frank on his mammoth 50 States in 50 Days tour of the US throughout June and July and then finally across the UK in September and October. ‘Primetime Entertainment’ is released on 9th September and will be available on CD, LP, digital and cassette. Timeline: Track 1 – ‘Get On The Roof’ – released as a single on 24th June ‘22 "After a gruelling 8 hour drive from a gig in South Devon back to Essex, I was reunited with my wonderful partner Lorna. We threw an old mattress out of our bedroom window onto our roof and clambered out, armed with a rucksack full of the remainder of last night's rider. We listened to cinematic theme tunes as the sun set over the chimneys on the horizon. Come early morning, we rolled back into the house. I grabbed my acoustic guitar, pressed "record" on my phone and sung a dizzy, euphoric stream of consciousness to my voice notes. It felt good, but they always do at that time of night, haha. On second listen in the morning, I felt excited about the tune and started to refine it. As soon as it hit the practice room we turned it into a party banger!"

Primetime Entertainment’ is PET NEEDS’ second studio album and is produced by friend and fan Frank Turner. Simultaneously loud and quiet, raucous party anthems sit alongside thought-provoking personal songs; it’s the sound of a band stepping up a gear to match their catapult on the big stages across the world. Having already toured Europe supporting Frank Turner in the first half of 2022, including Germany, Netherlands, France and more – the touring continues joining Frank on his mammoth 50 States in 50 Days tour of the US throughout June and July and then finally across the UK in September and October. ‘Primetime Entertainment’ is released on 9th September and will be available on CD, LP, digital and cassette. Timeline: Track 1 – ‘Get On The Roof’ – released as a single on 24th June ‘22 "After a gruelling 8 hour drive from a gig in South Devon back to Essex, I was reunited with my wonderful partner Lorna. We threw an old mattress out of our bedroom window onto our roof and clambered out, armed with a rucksack full of the remainder of last night's rider. We listened to cinematic theme tunes as the sun set over the chimneys on the horizon. Come early morning, we rolled back into the house. I grabbed my acoustic guitar, pressed "record" on my phone and sung a dizzy, euphoric stream of consciousness to my voice notes. It felt good, but they always do at that time of night, haha. On second listen in the morning, I felt excited about the tune and started to refine it. As soon as it hit the practice room we turned it into a party banger!"

“A rather gorgeous and engrossing collection, that borrows stealthily from a rich history of sound effect and soundtrack to build a tender poem to the night time.” - CLASH
“The plan was to make twenty 90-second tracks designed as TV themes,” says Arab Strap’s Aidan Moffat, of the initial thought behind his new instrumental album as Nyx Nótt “But it wasn't a satisfying listen, it was too gimmicky and silly.”
So instead, Moffat decided to stretch the idea out, plunge deeper, and expand the music into full tracks, “making some of them quite long and dramatic, with the odd swift turn here and there.” In fleshing these tracks out into more fully realised songs he began sourcing samples from professional TV and film music libraries. “The focus then turned to making a proper album out of these modern library sounds,” he says. “I decided to stick with the Themes From title and named the tracks after the sorts of shows they made me think of when I listened back.”
The result is a record that explores genre themes such as: ‘Thriller, ‘Porno’, ‘Caper’ and Swashbuckler’, and acts as an audio equivalent of channel hopping through a unique TV station programmed by Moffat. “I still wasn't sure about all this until I did the album cover, which brought it all together,” he says, of the artwork that places an old smashed TV unit front and centre with a woman perched on top. “It has echoes of old TV compilations but is pretty cheeky and slightly sexy in that old 70s compilation style. I wanted this one to look a bit more fun than the last one, as well as hopefully sound a bit more fun too.”
Aside from being a fun experience, it is also a stirring and immersive listen, one that allows the listener to imagine their own accompanying visual scenarios to each musical theme. The opening ‘Docudrama’ marries a gently creeping beat with strings that glide from tense to sweeping, while ‘Porno’ is all seedy smoky jazz that feels plucked right out of Travis Bickle’s late night trips to porn cinemas in Taxi Driver.
Touches of jazz pop up in other places too, on ‘Hardboiled’ this merges with subtle pulses and gargles of electronics that build to a rousing crescendo of horns and bleeps, and on ‘Caper’ there’s a vivacious full jazz band skip to the lively swinging rhythms. “There's a few more jazzy elements here,” Moffat says. “Although I'm not quite sure where that came from. Although, like everyone else, I've had plenty of time to be introspective recently, so I decided the next Nyx Nótt album should be more upbeat and encourage some occasional foot-tapping.”
However, what becomes apparent, the longer you spend in the world of Themes From, is how singular and unique the tone of each composition is. “Each track has its own individual feel,” says Moffat. “The idea was to sound like a different composer and band throughout.” It’s a stylistic leap that continues Nyx Nótt’s trajectory as one that shares no direct link to Moffat’s other projects. “I approach them in completely different ways and with a different purpose in mind,” says Moffat. “I don't think Nyx has ever heard of Arab Strap, and certainly doesn't own any of their albums.” It’s also a notable shift from the debut album under this moniker, and suitably given the theme, Moffat has created a visual comparison between these two sonic worlds. “If the first Nyx Nótt album was like looking out on dark prairies before dawn, this is more like a walk through a neon Soho after a few cocktails.”

The elusive SW. returns to Avenue 66 with okALGORYTHM. His third LP for the label is a semi-opaque wandering through the shadowy byways of memory, driven by tough-yet-supple production and his unmistakable, unerringly original voice. Inspired by all night electronic radio shows of the '90s, okALGORYTHM pulses with rich imagination and a sense of purposeful meandering. Speaking in cryptic fragments, the artist hints at elusive reminiscences "back then on the autobahn, to Berlin, with friends" while also noting that some recollections are "of things that didn't happen that way."

To this end, the album drifts from the knotty synth spirals of opener "WHAtADAY" through the tense, technoid tropics of "stepCLASSixMOtor," the brightly melancholic Larry Heard-isms of "TROPyCALLhytsrIA" to the stately skronk of closer "What endingENDs." The rhythmic undergirding never lets up, suggesting a limitless night drive tinted in deep greens and refracted reds. Each of the album's ten tracks comes alive with warm, analog finesse and a palpable atmosphere, though they play out by turns urgent or unhurried, coaxing or inscrutable. Yet throughout, there's a consistently hypnotic quality which draws the listener deeper into the album's unique balancing act.

If listeners are trained to expect throwback anthems every time the '90s are referenced, here they might find a more apt touchstone in the wilder, left-of-center corners of Chicago's foundational epoch. Throughout the album, the spirit of jacking house is absorbed, metabolized and transmuted. Drawing on lineages of taut, nervy synth-and-drum machine workouts, SW. manipulates his hardware with the delicate, considered touch of a painter. Perhaps the memory that lingers longest from that bygone era is the sense of profound possibility that dawns before forms become rigidly calificed and commodified. Either way, adventurous listeners will find that okALGORYTHM blooms with a uniquely affecting grace and SW.'s inimitably obscure loveliness, infused with a somber glow and marked by shimmering, untraceable contours.

Hot on the heels of Guinu’s modern Brazilian jazz-funk opus Palago? LP, comes an exceptional remix 12’’ of four standout album tracks.

For the A1, Jose Marquez flips the title track into a percussion-heavy and hypnotic Afro-Latin house burner, a masterful future classic of a mix that feels all but destined for late night Louie Vega or Osunlade sets. Faze Action harken back to their early-2000s vibe with their loungey beat-driven reimagining of Haja Fé.

On the flip, RNT stalwart Diogo Strausz takes the angular Electromandinga into the stratosphere, with anthemic synth melodies, rousing bloco percussion and interstellar vocal treatments. Rounding out the EP, well-loved Brazilian producer Carrot Green gives Porão de Ferro an 80s boogie makeover, complete with dubbed out vocals and funky synth bass work over bouncy analog beats.

Many Worlds Interpretation is a collection of cosmic Americana for electronics, guitar, and percussion culled from Jon Iverson’s extensive home-studio archive. 1984, Los Osos, California. In a small cinderblock cottage, hand-painted with bright psychedelic flora, Jon Iverson created vibrant new worlds. He spent long days and nights immersed in sound, perfecting home recording on his 8-track reel-to-reel, combining his love for kosmische and Berlin School electronics with an infatuation with ethnographic sounds and expansive guitar music. In a duo with fellow sonic traveler Thomas Walters, Iverson released missives from the studio on a self-titled LP released on country legend Guthrie Thomas’ Eagle Records. That release featured
three electro-acoustic compositions (“Naningo”, “River Fen”, and “Fox Tales”) as well as a gathering of guitar duo tapestries. Many Worlds Interpretation re-imagines those interplanetary works alongside several unreleased compositions that also feature synthesizer, guitar, and percussion, creating a re-visioned album which leans into Iverson’s electronic studio wizardry.

All songs have been carefully transferred from analog tape to high resolution digital, retaining their vintage studio warmth, but mixed and mastered for modern ears and audio systems. The album is pressed at 45rpm, further enhancing the audiophile experience.

Artist Statement

I worked in a Harley Davidson parts warehouse in the summer of 1976 in the San Francisco Bay Area. The goal was to save enough money to buy transportation for college and a Teac 4 track 1/4" reel to reel tape machine. By September there was a rusting monkey-vomit green car in the driveway and shiny new Teac with a Sony condenser microphone in the bedroom. At this point I had been playing guitar for a dozen years and like most children of the sixties, dreamed of joining
a band.

Went to college instead to study business.

But all was not lost. 1978-1979 was spent as Weird Al Yankovic's roommate and we recorded and created enough songs to play shows around San Luis Obispo, California, where we were attending college. Many of those recordings have yet to be heard by the public, including the first performances of My Bologna and many other parodies of pop songs of the day. We sent tapes to Dr. Demento, we auditioned for The Gong Show and were barred from playing at the local college after one memorable performance. Wild times.

I, however, was more intent on working on "serious" music, with albums from Vangelis, Tangerine Dream and Jean Michel Jarre providing inspiration. DJing at the local college radio station and then public radio outlet provided exposure to an endless stream of obscure albums (Sky Records from Germany was a particular favourite). Most of them would never make it to the air, but my buddies and I would pass them around like exotic treasure.

Fast forward a couple more years and I had picked up a Mini-Moog and eventually a Prophet V synthesizer as well as starting a collection of instruments from around the world. The Teac and synths formed the basis for a growing DIY studio that had taken over a modest-size garage (pictured on the cover) that had been converted into a two room cottage in Los Osos, California.

The Teac was eventually joined by a rented Otari 1/2" 8-track and then finally a vintage MCI JH-100 2" 16-track. The compositions on this album were recorded on these three machines between 1982 and 1989. At some point an Apple II computer with Alpha Syntauri sound card and keyboard were added and then later the first personal computer sampling hardware/software kit, the Decillionix DX-1. The DX-1 forms the rhythm track for “Fox Tales” and the Alpha Syntauri was programmed to create the pulsing synth for “Naningo”. “River Fen” was tracked with both the Alpha Syntauri and the Prophet V.

I knew this music wasn't commercial, but didn't care. It was inspiring working with the first computer-based synths and semi-pro gear. Home studios were still rare in the early 80s until the Tascam Portastudio blew the DIY door wide-open. But I was more interested in sound quality so stuck with reels of tape instead of lower fidelity cassettes.

During the time these songs were recorded, I was also collaborating with my good friend and mandolinist, Tom Walters. “River Fen”, “Naningo” and “Fox Tales”, were solo recordings that also ended up on the first Iverson & Walters album, First Collection. The other four pieces on this new LP were never fully finished or released until now.

— Jon Iverson, September 2022