Search:no good

Yazmin Lacey returns with Teal Dreams - her soulful, fearless second album, rich with real-life storytelling and sonic flair.

Following the breakout success of her debut album Voice Notes, praised by Billboard, Fader and Pitchfork (who likened her to Erykah Badu and Lauryn Hill), Yazmin’s star continues to rise. Last year saw her headline London’s Village Underground and KOKO, as well as perform with Ezra Collective on Strictly Come Dancing and Radio 1’s Live Lounge, the unforgettable voice behind firm festival favourite “God Gave Me Feet for Dancing.”

With Teal Dreams, she builds on her signature sound blending soul, ska, lover’s rock and indie into a vivid, emotionally sharp record shaped by real life, late-night reflections, and a last-minute trip to Thailand.

Collaborating with some of the best in class Miles James (Lotus), Barney Lister, Matt Maltese and more, Yazmin has expanded and elevated her sound on this album. Teal Dreams is a bold, honest evolution, and proof that Yazmin Lacey is only just getting started.



Classic and timeless, the Teal Dreams 12” black vinyl LP comes housed in a beautifully designed sleeve with a foldout lyric booklet. Artwork shot by Wukda brings the album’s mood to life with bold, striking design from Lauren Harewood.

Teal Dreams eco-friendly digipack CD, featuring an 8-page lyric booklet. Elegant photography by Wukda and striking design by Lauren Harewood complete this elevated package.

A record born of insurmountable joy and simultaneous profound loss; World Maker marks a time of great change for Psychonaut, both personally and musically, as the band burn away the philosophical narrative complexities of previous offerings with a searing, panoramic clarity that implores us to savour the beauty of the now as a means of leaving a legacy for the future. The traditional, three-piece line up of Belgian, psychedelic post-metal collective Psychonaut has long belied the compositional prowess, captivating narrative depth and crushing live presence of a band now operating at the forefront of forward-thinking, contemporary heavy music. Having sent a shockwave through the post-metal and prog scenes with their three times repressed Pelagic Records debut Unfold The God Man in 2020 before following it up with the transformative metaphysical complexities of 2022's Violate Consensus Reality, Psychonaut have played prestigious Belgian open-air festivals like Alcatraz, Rock Herk and Boomtown Festival as well as boutique events such as Soulcrusher, Roadburn Redux and A Colossal Weekend whilst sharing stages across Europe with the likes of Amenra, Brutus and Pelagic labelmates The Ocean and PG.Lost. The seed of World Maker took shape just as the campaign for Violate Consensus Reality came to a close, with the news that guitarist/vocalist Stefan De Graef was to become a father. This tilting of life's axis led De Graef, like most fathers-to-be, to re-assess what was really important. As such, the music he was inspired to write felt free of the band's previous philosophical and spiritual foundations and instead took the form of life lessons for his unborn son, a legacy of love in case something were ever to happen. This hopeful euphoria shines keenly throughout World Maker as an uncharacteristically optimistic warmth; from the reverberating Rhodes organ on the titular opening track and the meandering, free-jazz inspired guitar solo that introduces `Everything Else is Just The Weather' to elements of world music, electronica and the otherworldly voice of Dutch multi-instrumentalist and old friend Anthe Huybrechts (Anthe/Helion Creek) most notably on tracks like `Origins' which also features tabla, a pair of indian hand drums, as its propulsive heartbeat. Whilst Psychonaut's giant riffs, punishing polyrhythms and guttural vocal rage are more resplendent than ever, there is a wider dynamic spectrum to World Maker that sees the band proudly exploring their more delicate, intimate extremes as well as their most aggressive and abrasive. Not long after the birth of De Graef's son came the devastating news that both his own father and Psychonaut bassist/vocalist Thomas Michiels' father had been diagnosed with advanced cancers. Living day-to-day and torn between joy and grief, the band found themselves shedding the grand scope and world-shattering agenda of Violate Consensus Reality to focus on the here and now. Lead single `Endless Currents', the first full track on the album, explodes in a barrage of staccato guitar tapping but mellows to let the powerful, newly pared back lyrics ring out as a call to embrace the flow and follow joy. The song's final few words `Lead the way. / Soar. / Everlong.' double as both a greeting and a goodbye as the trio build their formidable post-metal might to a thunderous breaking point. Similarly, the pulsing, propellant `Stargazer', named so for De Graef's son being born in stargazer position, pairs delicate guitar motifs and folk-inflected optimism with huge and sprawling breakdowns as some of the band's most genre-pushing work to date; asking difficult but important questions of what happens next. It is `And You Came With Searing Light' though that most immediately exemplifies Psychonaut's redirected ambition on World Maker, as euphoria collides with blinding fury. The first track written for the album, `_Searing Light' is easily the most complex and initially wouldn't sound out of place on Violate Consensus Reality. Originally meant to be the new album's opening track; the decision to defer its impact, not to mention its compositional and dynamic gravity, speaks of a fundamental change to the band's very core. The words "Discover the world with wide eyes" recurring throughout speak as much to those having lost a part of their world as they do to those seeing it for the first time. Amidst such turbulent times, the band found strength and support within their Post-Metal community. The album was recorded and produced by the band alongside their longtime collaborator and close friend Chiaran Verheyden (Hippotraktor) with help and advice from Psychonaut's live engineer Victor, who will no doubt make this album sound just as awesome on stage. Even the artwork for World Maker was a family affair, being designed by close friend Sam Coussens of Belgian cosmic sludge metallers Pothamus. In the face of life's soaring highs and desolate lows, World Maker is direct and brave without sacrificing any of Psychonaut's raw power, creative innovation or inimitable musical depth. Where their previous full-length offerings have charted grand introspective courses through time and space, World Maker is breathtaking in its uncompromising clarity: a father singing to his newborn son as a son bids his own father farewell. FOR FANS OF Mastodon, Russian Circles, Tool, Gojira, The Ocean, Pelican, Hypno5e, Cult Of Luna, Amenra

Although it was only reissued last year, that sold out in quick time, so now it lands once more but as a nice coloured pressing of The Mighty Ryeders' delightful single 'Let There Be Peace.' An OG is a rare and pricey collector's item and for good reasons - its scorching funk with big horns and raw rhythms. The B-side features 'Evil Vibrations' by MURO aka King Of Diggin', famously sampled by De La Soul in their brilliant 'A Roller Skating Jam Named Saturdays.' It's another timeless sound that pairs funk and soul into something as likely to get big reactions now as ever, not least because of how silky the groove is.

Talulah’s Tape is the debut offering from magnetic Midwest-jangle collective Good Flying Birds. Across a patchwork mixtape of stripped-down home recordings that span the independent-guitar spectrum, the band delivers colorful, intricate pop songs perched between the immediacy of DIY punk and the intimate sweetness of twee. Breakbeats, memes, and noise glue everything together, making the album feel as chronically online as it is timeless.

Originally released on cassette in January 2025 by Midwest-punk legend Martin Meyers’s Rotten Apple label, the tape sold more than 300 copies in under a month and quickly became an out-of-print and coveted item. Meyers called it “certified catnip for popheads.” Now, with a refined track list and a fresh master from Greg Obis, Talulah’s Tape returns on LP and CD via Carpark and Smoking Room in October 2025.

While production and approach vary, a through-line of sensitive self-contemplation rests on bright, scrappy guitars and hyperactive melodic bass. Opener “Down on Me” rides a buoyant bass line while jangling guitars frame reflections on overcoming trauma: “I see you in the mirror every time I cry / I hear your voice every time I try.” Next, the guitars trade twinkling counter-melodies on “I Care for You,” pairing sugary, lovestruck lyrics with effervescent strums: “You catch me when I fall / You build me up so tall.”

The rosy grin occasionally twists into a wicked smirk. “Dynamic” warns, “You used to paint the face, but now you’re just the clown,” while “Glass” asks, “Is it lonely at the top when everyone follows the trend, and you hold the pen?” Both tracks brim with sparkling guitar interplay. By the closing, nearly five-minute “Last Straw,” Good Flying Birds stand far beyond conventional indie-pop or 4-track punk, unveiling a roller-coaster of unpredictable changes, vocal harmonies, and instrumental cross-talk.

Altogether, Talulah’s Tape is a pastel-yellow, candy-coated shell filled with thoughtful juxtapositions and melodic experiments. Standing on the same ground as idiosyncratic songwriters like Connie Converse and Daniel Johnston, Good Flying Birds find sweetness in sadness, tear stains on a colorful flower-print couch. Simultaneously, it’s packed with the scratchy guitars and vibrant rhythms of Scottish guitar groups like The Pastels, Orange Juice, and Josef K. It’s a tremendous opening statement from a band just getting started.

Talulah’s Tape is the debut offering from magnetic Midwest-jangle collective Good Flying Birds. Across a patchwork mixtape of stripped-down home recordings that span the independent-guitar spectrum, the band delivers colorful, intricate pop songs perched between the immediacy of DIY punk and the intimate sweetness of twee. Breakbeats, memes, and noise glue everything together, making the album feel as chronically online as it is timeless.

Originally released on cassette in January 2025 by Midwest-punk legend Martin Meyers’s Rotten Apple label, the tape sold more than 300 copies in under a month and quickly became an out-of-print and coveted item. Meyers called it “certified catnip for popheads.” Now, with a refined track list and a fresh master from Greg Obis, Talulah’s Tape returns on LP and CD via Carpark and Smoking Room in October 2025.

While production and approach vary, a through-line of sensitive self-contemplation rests on bright, scrappy guitars and hyperactive melodic bass. Opener “Down on Me” rides a buoyant bass line while jangling guitars frame reflections on overcoming trauma: “I see you in the mirror every time I cry / I hear your voice every time I try.” Next, the guitars trade twinkling counter-melodies on “I Care for You,” pairing sugary, lovestruck lyrics with effervescent strums: “You catch me when I fall / You build me up so tall.”

The rosy grin occasionally twists into a wicked smirk. “Dynamic” warns, “You used to paint the face, but now you’re just the clown,” while “Glass” asks, “Is it lonely at the top when everyone follows the trend, and you hold the pen?” Both tracks brim with sparkling guitar interplay. By the closing, nearly five-minute “Last Straw,” Good Flying Birds stand far beyond conventional indie-pop or 4-track punk, unveiling a roller-coaster of unpredictable changes, vocal harmonies, and instrumental cross-talk.

Altogether, Talulah’s Tape is a pastel-yellow, candy-coated shell filled with thoughtful juxtapositions and melodic experiments. Standing on the same ground as idiosyncratic songwriters like Connie Converse and Daniel Johnston, Good Flying Birds find sweetness in sadness, tear stains on a colorful flower-print couch. Simultaneously, it’s packed with the scratchy guitars and vibrant rhythms of Scottish guitar groups like The Pastels, Orange Juice, and Josef K. It’s a tremendous opening statement from a band just getting started.

In 2005, teenage trio The Subways made a phenomenal breakthrough with their Gold-certified debut album "Young For Eternity". It set them on the road to an endless succession of highlights, including their iconic "Rock & Roll Queen" becoming a mainstay of rock radio and streaming playlists. Twenty years on, and now five albums deep into their career, The Subways celebrate their 20th anniversary with the career-spanning collection "When I"m With You". The compilation brings new material too. It includes two new songs: "I Need To Feel You Closer", and "Passenger"s Side". The collection features the band"s work with some of the most influential producers around, including Butch Vig (Nirvana, Foo Fighters), Stephen Street (The Smiths, Blur) and The Lightning Seeds" Ian Broudie (Echo & The Bunnymen, The Coral). The tracks taken from their self-titled album and "Uncertain Joys" were produced by Billy Lunn.

Born Osborne Ruddock in Kingston in 1941, he grew up around High Holborn Street in Kingston, before moving to the new Waterhouse district in 1955. His electronic genius grew from working and fixing radios and TV sets. A natural progression led to working with amplifiers, and starting his own sound system, 'Tubby's Home Town Hi-Fi'. A very competitive games i the late 60's. You were as good as the EXCLUSIVE records you played.
Tubby discovered during his time cutting discs for Duke Reid's Treasure Isle set up, that by dropping vocals/instruments in and out of the backing tracks, you could invent new versions of existing old tunes. These early versions tried and tested on his sound system went down so well that he invested in a four track mixing console with delay echo effects, sliders and phasing units and so began King Tubby's 'Studio Of Dub' at 18 Drummlie Avenue, Kinston 11 , Jamaica...His Home.....
This is where all the producers would bring their tracks for Tubby to put his magic over. Most tracks that came out in Jamaica from here on in would carry a 'Version' on it's B- Side more than likely a Tubby Dub.
One of the producers who used him the most was Bunny Striker Lee, who's labels Jackpot, Justice and Attack all carried Tubby's mixes/versions on their flip sides.
Our collection here, all taken from original master tapes you might have heard the tracks before but not these versions....Lost in the vaults till now. So sit back and enjoy the dub master at work.

RESPECT.... JAH FLOYD

Track 1 CHERRY'S DUB
We start off with a very early version of Eric Donaldson's 'Cherry O Baby'.
This version was recorded at Dynamic Sounds, in 1971 and has remained lost on master tape until now.

Track 2 FRENEMY DUB
This classic rhythm known as 'Mad Mad World' and 'Crying in the Ghetto' both voiced by Winston Jarret
got worked on by Tubby as an exclusive mix for his sound system. Released here for the first time featuring
the late, great Jacob Miller on dubbed vocal.

Track 3 FALLING FOR DUB
A version here of Cornell Campbell's 'My Whole World is Falling Down' Tubby in fine form.

Track 4 DUB ON THE STREET AGAIN
Yes my friend The Street Again finds Cornell Campbell's vocal dubbed King Tubby Style Nice Rockers drums from Sly Dunbar.


Track 5 DECEIVING THE DUB
Sly and Robbie dubbing up Delroy Wilson's ' So Long Jenny' with King Tubby at the boards

SKA was the name given to the music that came out of Jamaica between 1961-1966. Based on the American R&B and Doo-wop records that the Sound Systems in Kingston Town used to play. However, the American records style started to mellow out, while the Jamaicans preferred a more upbeat sound. So the Sound System bosses became record producers to cater for this demand. Sir “Coxonne” Dodd and Duke Reid led the way putting the top musicians on the Island in the studio to make music unmistakably Jamaican. A lot of their early recordings were cut at Federal Records before they built their own studios.

Federal Records was the first domestic Jamaican studio, based at 220 Foreshore Road, Hagley Park, Kingston. It opened it’s doors in 1961 owned by Ken Khouri who first licensed American records to the island of Jamaica, before cutting his own tunes, which were some of the first Jamaican RnB and Ska singles. Ken Khouri initial studio was Records Limited but very basic so with the help of engineer Graeme Goodall built the new studio complex at 220 Foreshore Road which also contained a pressing plant and disc cutting room. The studio was not only the forerunner for Ska music but the music that followed and in 1981 Ken Khouri sold the complex now on the renamed road Marcus Garvey Drive to Bob Marley who renamed the premises Tuff Gong Studios whose legacy carries on today.

We have compiled some of the best SKA SOUNDS that came out of the Federal Vaults, with some of the best artists, musicians from the time. The great Lord Tanomo, Don Drummond, Rico Rodriguez, Roland Alphonso, alongside some lesser known artist. However, one thing is for sure, the quality never drops on this fine collection of Ska Hot Tunes……

Official reissue of the self-released first Mac Machine single from 1983. This little gem brings a boogie funk, early rap slap on the a-side; and a deep, soulful tune on the flipside. Both mark the cornerstone of this band from Kassel, North Hesse, Germany. With its playfulness, solid skills on the instruments and a brilliant singer, it revealed a first glimpse of what to expect musically by the band that was founded by former US soldiers in 1982. The re-release comes in a picture sleeve including an insert with liner notes.

'In This World' is starting the party, bringing raps with a critical view on the early 1980s state of the world, featuring a musical remedy that chases all your blues away: "Just shake your head one time and move that behind. Just listen to what I say, and you will go through every day!"

'Let Me Go' tells the agonizing end of a relationship. Too much has happened, and it just doesn't work out anymore. The powerful vocals make one feel the pain, while the female chorus, piano and percussions deepen the sentiments. A funky good-bye, that could make you cry.

With a multi-decade spanning back catalogue behind him, Bearface aka Raj Panasa shows no signs of slowing down. Over the years he has built a sturdy reputation around his distinct and innovative feel-good touch whether that be on his own Beartone Records, or the many other labels he has shared his classy sound with.

“Remakes and Raw Cuts Vol. 1” is the launch of a new vinyl series from the London-based producer, a safe place for him to showcase his eclectic sound, alongside edits and remakes of some of his favourites over the years, all finding a home on his Beartone label.

Starting off on the A side Bearface provides a funk fuelled latin explosion with his version of the classic “Tudo Que Você Podia Ser”, sassy disco attitude ready for the summer months, presenting some unforgivable dance floor mania. The A2 “Got To Be” is an original cut, meandering between playful guitar licks, and stripped back, hypnotic percussion, there is a curious atmosphere as the track continues to simmer.

On the flip side an edit from the revered beatmaker. First up he edits “Tell Me I’m Not Dreamin’” by Jermaine Jackson, the infectious vocal injects a zesty life into a killer electro groove, a playful and animated trip ready to rock the floor! Closing out the EP is the retro sounding “Everything”, the robotic vocal flashes in and out, nodding towards Daft Punk, boasting beautiful strings and crispy hi-hats bringing that day time energy.

Bearface teasing those summer moments with a jam packed EP brimming with sunshine and positivity, dive in and feel the fun!

Young Gun Silver Fox are the captains of AM Waves, setting sail towards an isle where melodies soak the shoreline and grooves sway like palm trees. Their route traces a natural progression fromWest End Coast, an album that cast Andy Platts (Young Gun) and Shawn Lee (Silver Fox) as musical virtuosos of SoCal-infused pop. AM Waves does more than duplicate the perfection of West End Coast. It improves it.

Recorded at The Shop in London and Roffey Hall in the English countryside, AM Waves burnishes the blend between the duo's modern aesthetic and their sumptuously crafted homage to '70s-styled pop, rock, and soul. "This music hits a certain spot for me personally that nothing else quite does," says Shawn, who produced the album amidst his projects for Saint Etienne, Shawn Lee's Ping Pong Orchestra, and several other acts. "It's real high-caliber music. It's easy and breezy to listen to but it's really hard to make. Every aspect is A game."

The A game behind AM Waves fuels 43 minutes of Young Gun Silver Fox in peak form. "AM Waves is much more instinctive," says Andy, whose penchant for writing irresistible hooks and melodies also shapes his role as lead singer and lyricist/composer for the band Mamas Gun. "It's more vivid. You can see the clarity to the colors of AM Waves whereas West End Coast is slightly more impressionist, as it were."

Originally issued as a single in September 2017, "Midnight in Richmond" is the anchor of AM Waves. "I hit one chord, which I'd never played before, and the song sort of wrote itself," notes Shawn. "It was intuitive. In many ways, the primary function of what I'm doing is trying to find that chord that opens a door and takes you someplace else. Those chords have magic." Andy embellishes the song's appeal by nimbly juxtaposing wistful emotions with a sun-kissed melody, his voice evoking richly drawn memories. The qualities that make "Midnight in Richmond" an instant classic abound throughout the album.

"Lenny" and "Take It or Leave It" spotlight Andy's versatility as a songwriter. The former was inspired by a dream he had where Lenny Kravitz owned a bar. "It was surreal," he says. "He was polishing the glasses and just serving me hit after hit." Like swimming through moonshine, Andy languorously savors every syllable in the song. "Take It or Leave It" is pure pop bliss. "That was one of those songs that fell out in half an hour," he says. "I had everything and it was done." Shawn adds, "It's such a perfect song in itself. When I listen to it, it's like you've created a record that already existed."

Young Gun Silver Fox introduce a five-piece horn section on "Underdog" that literally trumpets the song's protagonist. Shawn affectionately dubbed them the "Seaweed Horns" in honor of the Seawind Horns, an LA-based unit that recorded with powerhouses like Michael Jackson,Rufus & Chaka Khan,and Earth, Wind & Fire during the late-'70s. Andy explains, "The horns grab another hue of the west coast sound, which is the starting point, but it's also maybe the point where we're injecting a little bit more of ourselves and some outside colors into the familiar west coast palette."

A bounty of treasures course through AM Waves' ebb and flow. "Mojo Rising," which the duo penned with Rob Johnson, is a veritable retreat to paradise. "Sky-bound, heaven sent / Way above the clouds watching shootingstars descend," Andy sings, mirroring the music's celestial undertones. Sensuality contours the notes on "Just a Man," a song that basks in the allure of a woman who leaves "footprints on the water" while "Love Guarantee" is festooned with the Seaweed Horns. "I wanted to bring more of that R&B slickness into the mix," Shawn notes about the latter track. "We hadn't done a tune with that sort of groove." Similar to his work on "Underdog," Nichol Thomson's intricate horn arrangement on "LoveGuarantee"exemplifies another distinction between AM Waves and its predecessor.

"Caroline" occupies a special place on AM Waves, beyond spawning the album title. It tells the story of Radio Caroline, a pirate radio station that broadcast from an offshore vessel during the '60s and '70s. "They played the music that kids wanted to hear, whether it was the old stuff or cutting edge stuff," says Andy. "'Caroline' is about Radio Caroline's eventual capture." Complementing Andy Platts' deft wordplay, which draws parallels between radio airwaves and the station's literal home on the ocean, Shawn Lee layers nearly a dozen different parts on "Caroline," showcasing the vastness of his musicality. "I loved that track as soon as I heard it," Andy continues. "It's a beautiful fusion of me and Shawn."

The Seaweed Horns joinYoung Gun Silver Foxas they detour to the dance floor on "Kingston Boogie." Shawn explains the track's genesis, "I was thinking, what have we not done yet We definitely should get an AOR disco thing happening. I quite like disco. The beat is so metronomic that it allows you to be really sophisticated on top. 'Kingston Boogie' just laid itself out. I call it 'midnight disco.'" With a nod to "Lenny," Andy Platts sets "Kingston Boogie" back at Lenny's Bar, this time revealing a detail or two about its mysterious proprietor as he pours sweet wine and moonshine.

In a sense, AM Waves ends with the beginning. Even before there was Young Gun Silver Fox, there was "Lolita," the first song Andy Platts and Shawn Lee wrote together and a crowd-pleasing staple of the duo's live sets. The tale of a femme fatale who harbors a secret was recorded for West End Coast but instead furnished the B-side to "Long Way Back" as well as a bonus track on the North American edition of the album. Despite the song's checkered trajectory, its infectious chorus sparked the brighter, more buoyant orientation of AM Waves.

Like the moon pulling the tide, Young Gun Silver Fox are a magnet for good songs. "We're both so obsessed and constantly interested in music-making," says Andy. "We're both thinking about it all the time. When you know you have an accomplice with you that's the same as you, it's very liberating. Suddenly, worlds of color start to appear." Indeed, AM Waves is elemental in its power to induce pleasure. Dive right in.

Christian John Wikane

(New York City / February 2018)

The Reds, Pinks & Purples is a San Francisco indie band led by Glenn Donaldson (The Ivy Tree, Skygreen Leopards, Art Museums and Painted Shrine). For fans of_ Guided By Voices, The Chills, Teenage Fanclub, The Shins, The Replacements, Leonard Cohen, The Go-Betweens, Robert Wyatt. Having penned over 200 songs in the last six years, The Reds, Pinks and Purples release a collection of tracks previously unreleased on physical format that continues to romanticise the wonders and woes of the world. With song titles that read like chapter sub-heads for a post-Douglas Coupland novella, 'The Past Is A Garden I Never Fed' takes The Reds, Pinks and Purples central orator Glenn Donaldson through the turmoil of small talk and everyday water cooler moments with a fine sense of pathos and irony. Set to a soundtrack that swerves between the dark days of Television Personalities and Byrdsian twang to the Jarvis Cocker-styled rhetoric and vocal tenderness of 'Richard In the Age Of The Corporation' with hints of everything from Husker Du's fuzzed splendour to the chiming majesty of The Chameleons it's an empowering listen. The pathos and irony of the glorious track 'The World Doesn't Need Another Band' sets out the band's store, it's a measured and quietly outspoken rant at lacklustre opposition peppered with a gorgeous guitar break. Meanwhile, 'I Only Ever Wanted To See You Fail' rumbles with an Eddie And The Hot Rods pre-punk riff before dissolving into a tale of self-doubt and remorse, bemoaning others' good luck. 'Toxic Friend' is from the book of the TVP's Daniel Treacey with an upbeat chorus that smacks of all that was good in old school indie in a hail of fuzzy logic and guitars. From humble beginnings as a home recording project, The Reds, Pinks and Purples has blossomed into a sporadic live unit with tours on both sides of the Atlantic and appearances at Pitchfork Fest London and Woodsist Fest as well as support slots for indie legends such as Destroyer, Guided By Voices, and The Feelies. "Donaldson's best work hides allure within a bigger picture, like a jangle-pop egg hunt" Pitchfork.

Two of Lamp's masterpieces will be released on vinyl at the same time! Two of Lamp's masterpieces from the 2010s, "Tokyo Utopia Tsuushin" and "Yume",
will be reissued on vinyl! After becoming a viral hit on TikTok in the 2020s, Lamp now has over 2.1 million monthly listeners on Spotify.
In addition to his deep-rooted popularity in Asia (China, Taiwan, Hong Kong, Korea, Indonesia, etc.), he was selected as a support act for Mitski last year
and accompanied them on their North American tour. At the same time, his solo tour "FUTURE BEHIND ME" North America 2024, which visited 17 locations
in North America, was all sold out. This summer's solo show at LINE CUBE SHIBUYA was also sold out immediately, and Lamp's two masterpieces,
which are currently gaining worldwide acclaim, will be released on vinyl at the same time!

This is the sixth album by Lamp, a mixed-gender trio that has inherited the Japanese pop music of each era and sublimated it into new pop music by sprinkling
elements of 70's pop and Brazilian music throughout.
This album depicts the mental landscape of a man and woman passing each other in a certain place in a city.
It suddenly reminds us of the cold and warmth of winter, a nostalgic feeling that everyone has experienced at least once.
The jacket features many illustrations by Suzuki Oji, who was active in the manga magazine "Garo," which had a great influence on young artists in the 70s and
produced many geniuses in the manga world, and is known for his representative work "Motorcycle Girl."
The unique, fantastical illustrations resonate with Lamp's music to create a fantastical world.

Congratulations! 55th anniversary of debut

The third album "Single Man", released on April 21, 1976, was an album with many controversies from the production stage.
It was discontinued less than a year after its release, and then a movement to re-release "Single Man" arose, and it finally re-released in 1980, so it has
a twisted story.

The album features a variety of performances due to the transition period from the folk period to the electric arrangement period, and above all, many
masterpieces that can be said to be representative of the entire RC period, such as "Slow Ballad". The driving force just before the rapid climb to
"KING OF ROCK" after 1980 is already boiling in this album.

In addition to the latest remastered sound source from the original master tape of the album, this deluxe edition includes single songs from that time,
versions not included on the album, and a studio live sound source from tvk's "Young Impulse" at the time of the album's release.
It is a deluxe edition packed with the overflowing talent of RC Succession at that time.

The booklet includes for the first time all 17 images from the original jacket illustration, "Pictures for the Test of Painting Apperception of Infants and Children."

・Remastered by zAk
・Disc 1: Half-speed cutting / Disc 2: Normal cutting by Miles Showell at ABBEY ROAD
・180g heavyweight clear vinyl
・Booklet (17 images of "Pictures for the Test of Painting Apperception of Infants and Children" (illustrations by Minamioji Hajime), commentary, lyrics)
・Liner notes: Imai Tomoko, Sakai Hiroki

STANDFIRST Titanic, the project spearheaded by Mabe Fratti and Hector Tosta (aka I. la Católica), return with a sumptuous and life-affirming new album.



In her sensational 1929 biography Tiger Woman, dancer and socialite Betty May claimed her ‘coster’s eye’ meant she liked to wear as many colours as possible. “Colours to me are like children to a loving mother. Each is my favourite, yet I can never bring myself to deny the others by preferring one.” May’s bold and inclusive strategy is one that manages to transfer itself, almost a century later, to Hagen, the new record by Titanic.


Many will know Titanic as the Mexico City-based brainchild of cellist and singer Mabe Fratti and multiinstrumentalist Hector Tosta who is now operating under the pseudonym, I. la Católica, (taken, rather unusually, from the name of the street the pair live on). With Hagen, and their previous release, Vidrio, (2023), the pair are creating a distinctive signature sound in modern alternative pop music. Nobody else sounds quite like them. Both records have an open hearted nature and simple, winning melodies that play off against a taste for drama, spectacular orchestration and a feeling of otherworldly mystery. Hagen is the more ambitious, sometimes more mystical effort. From the opening handclaps of ‘Lágrima del Sol’, (a wonderfully uptempo playground chant translating as a tear from the sun but, surely, not referencing the brand of pineapple wine?), the record dances its way through various mid-to-late-eighties inspirations, lush and widescreen passages of melancholy and vertiginous contrasts.


Mystery is often found in the simple but slightly odd song titles. English translations of various track titles give, ‘you swallowed the gum’, ‘leak’, ‘a tear from the sun’, ‘raising the trophy’ ‘digging dimensions’, ‘the owner’, ‘the decapitated hen’ and ‘the trap is exposed’. All denote striking images, metaphysical hints and emotional cues or simple, even childlike actions. Though Fratti and Tosta don’t reveal its provenance, the album’s title could even be a crafty play on words: the listener would be forgiven in thinking the moments of brash contrast and eyebrow raising theatricalism in the music constitute a musical nod to German punk chanteuse, Nina Hagen.


On Hagen, singer and cellist Mabe Fratti once again displays her brilliant knack of speaking to us directly. There is never the suspicion of her playing to the gallery, and the directness of many of the lyrics don’t allow it. Parallel to this, Fratti has an almost magical ability to give Hector Tosta’s melodies, and her and Tosta’s lyrics ones imbued with an insight and meaning that feels otherworldly. Tosta admitted it was “pretty wild to hear Mabe take the interpretations to a different place” and the listener can pick up on the delight Fratti takes in (literally) adding a voice to the many narratives.


Two examples can be shown here: ‘Gotera’ (Leak) uses harsh slashes of cello and tough, gunfire-like guitars and drums and multiple vocal lines that could be acting as a Greek chorus. They play off brilliantly against Fratti’s soft, slightly baleful vocal take that delivers lyrics such as: ‘nobody knows where the leak is / but I know where it is / they fight in front of the door and / nobody can go in’. With ‘La Gallina Degollada’ the somewhat blithe melody melody line, sung with what could be sarcastic brio by Fratti, plays against an itchting rhythm and rasping guitar part. The punch comes when you see that the song is about a chicken that has been decapitated and read lyrics such as: ‘I already saw it, it moved, the decapitated chicken’ / ‘could it be that I'm broken’ and ‘Two people hurt each other by thinking that they no longer agree’/ ‘Hours pass and the chicken represents what scares me’.


There may be death and fights to deal with, but there is also a quality of chirpy self-reliance about Hagen that is a key part of its nature. Like Betty May and her colourful outfits, Hagen’s sound often revels in its own sense of richness. Throughout, the record delivers vaulting string sections or glutinous guitar squeals that could, like the powerful, driving ‘Escarbo Dimensiones’ (Digging Dimensions) have come directly from a glossy 1980s TV series. Fratti sees this “glam sound” developed by Tosta on the aforementioned track and ‘Te Tragaste el Chicle’ (You Swallowed The Gum), as moments that were truly “revealing” for the album as a whole during its making.


What else? The thud and thump of ‘La Trampa Sale’ (The Trap is Exposed), and its sudden change of tempo and mood betrays a monstrously ambitious piece of music, the players almost greedily creating the sounds. Other moments are heart wrenching: ‘Libra’ ends on a poppy chord switch that cleverly ramps up the emotion inherent in the music’s notation. You could almost imagine a teenager in a bedroom forty years ago, rewinding the track over and over on a small, cheap cassette player, unable to get enough of that sugarsweet switch. Elsewhere, Oneohtrix Point Never adds stardust and an unearthly sense of space on the changeable, slightly moody meditation, ‘Pájaro de Fuego’ (Firebird). The record ends with ‘Alzando el Trofeo’ (Lifting the Trophy), a track that could soundtrack a state wedding, what with its beautiful cascading piano parts, a sugary vocal and short triumphal guitar riffs that add a rich patina to the overall sound. Fratti: “When I doubled those vocals on ‘Alzando el Trofeo’ I felt there was an epiphany happening, right at that moment.”


Making a good record is a team game. Tosta and Fratti recall seeing Randall from Circular Ruin Studios in NYC “tweak the drums in ‘Libra’ to make that amazing effect of the gated reverb”, or the shaping of ‘Gotera’, “when (recording engineer) Nate Salon added some synths to the track.” Drummer Eli Keszler, “an amazing and versatile player” had the songs down pat in a couple of days” and, according to Tosta, Oneohtrix Point Never “just came to one of the sessions and we hung out, and after all the recordings he and Nate were together in some studio and out of nowhere they sent us some beautiful tracks for ‘Pájaro de Fuego’! Fratti concurs. “He decided that he wanted to record because he was listening to the record (Nate works closely with him) and he really liked it! It was a total honour, indeed!”


Bedazzled by the playing, the skyscraping ambition in the arrangements and the giddy moments of contrast thrown up by Hagen, we could allow ourselves a brief moment of flippancy and state that Titanic’s new record is Yacht Rock meets Aeschylus, full-on. It’s also worth speculating that, in this hyper-sensitive, intemperate age, Titanic’s music has the power, however fleetingly, to heal hurts. Hagen is a brilliant showcase for a fresh and enriching form of pop music: displaying a magpie eye for what glints and plundering what has gone before.


Like Vidrio, Hagen was partially and additionally recorded at Fratti and Tosta’s house, aka Tinho Studios in Mexico City, as well as Golden Girl Studios & Circular Ruin Studios in New York City. Mixing was done by Santiago Parra in Pedro y el Lobo Studios, Mexico City and mastered by Rafael Anton Irisarri at Black Knoll Studios, New York City. The recording engineer was Nate Salon.


Hagen featured Mabe Fratti on cello, vocals & backing vocals, I. la Católica on guitar, keyboards, prepared piano, bass & backing vocals, drums by Eli Keszler and synths in ‘Pájaro de Fuego’ from Daniel Lopatin and Nate Salon.


All compositions on Hagen are written by I. la Católica, except ‘Escarbo Dimensiones’ & ‘Pájaro de Fuego’, which were composed by I. la Católica and Mabe Fratti. The record was produced by I. la Católica and co-produced by Nate Salon & Mabe Fratti. And all lyrics are by I. la Católica except ‘Escarbo Dimensiones’, ‘Gotera’, ‘Gallina degollada’ & ‘Pájaro de Fuego’, which were written by I. la Católica & Mabe Fratti.

STANDFIRST Titanic, the project spearheaded by Mabe Fratti and Hector Tosta (aka I. la Católica), return with a sumptuous and life-affirming new album.



In her sensational 1929 biography Tiger Woman, dancer and socialite Betty May claimed her ‘coster’s eye’ meant she liked to wear as many colours as possible. “Colours to me are like children to a loving mother. Each is my favourite, yet I can never bring myself to deny the others by preferring one.” May’s bold and inclusive strategy is one that manages to transfer itself, almost a century later, to Hagen, the new record by Titanic.


Many will know Titanic as the Mexico City-based brainchild of cellist and singer Mabe Fratti and multiinstrumentalist Hector Tosta who is now operating under the pseudonym, I. la Católica, (taken, rather unusually, from the name of the street the pair live on). With Hagen, and their previous release, Vidrio, (2023), the pair are creating a distinctive signature sound in modern alternative pop music. Nobody else sounds quite like them. Both records have an open hearted nature and simple, winning melodies that play off against a taste for drama, spectacular orchestration and a feeling of otherworldly mystery. Hagen is the more ambitious, sometimes more mystical effort. From the opening handclaps of ‘Lágrima del Sol’, (a wonderfully uptempo playground chant translating as a tear from the sun but, surely, not referencing the brand of pineapple wine?), the record dances its way through various mid-to-late-eighties inspirations, lush and widescreen passages of melancholy and vertiginous contrasts.


Mystery is often found in the simple but slightly odd song titles. English translations of various track titles give, ‘you swallowed the gum’, ‘leak’, ‘a tear from the sun’, ‘raising the trophy’ ‘digging dimensions’, ‘the owner’, ‘the decapitated hen’ and ‘the trap is exposed’. All denote striking images, metaphysical hints and emotional cues or simple, even childlike actions. Though Fratti and Tosta don’t reveal its provenance, the album’s title could even be a crafty play on words: the listener would be forgiven in thinking the moments of brash contrast and eyebrow raising theatricalism in the music constitute a musical nod to German punk chanteuse, Nina Hagen.


On Hagen, singer and cellist Mabe Fratti once again displays her brilliant knack of speaking to us directly. There is never the suspicion of her playing to the gallery, and the directness of many of the lyrics don’t allow it. Parallel to this, Fratti has an almost magical ability to give Hector Tosta’s melodies, and her and Tosta’s lyrics ones imbued with an insight and meaning that feels otherworldly. Tosta admitted it was “pretty wild to hear Mabe take the interpretations to a different place” and the listener can pick up on the delight Fratti takes in (literally) adding a voice to the many narratives.


Two examples can be shown here: ‘Gotera’ (Leak) uses harsh slashes of cello and tough, gunfire-like guitars and drums and multiple vocal lines that could be acting as a Greek chorus. They play off brilliantly against Fratti’s soft, slightly baleful vocal take that delivers lyrics such as: ‘nobody knows where the leak is / but I know where it is / they fight in front of the door and / nobody can go in’. With ‘La Gallina Degollada’ the somewhat blithe melody melody line, sung with what could be sarcastic brio by Fratti, plays against an itchting rhythm and rasping guitar part. The punch comes when you see that the song is about a chicken that has been decapitated and read lyrics such as: ‘I already saw it, it moved, the decapitated chicken’ / ‘could it be that I'm broken’ and ‘Two people hurt each other by thinking that they no longer agree’/ ‘Hours pass and the chicken represents what scares me’.


There may be death and fights to deal with, but there is also a quality of chirpy self-reliance about Hagen that is a key part of its nature. Like Betty May and her colourful outfits, Hagen’s sound often revels in its own sense of richness. Throughout, the record delivers vaulting string sections or glutinous guitar squeals that could, like the powerful, driving ‘Escarbo Dimensiones’ (Digging Dimensions) have come directly from a glossy 1980s TV series. Fratti sees this “glam sound” developed by Tosta on the aforementioned track and ‘Te Tragaste el Chicle’ (You Swallowed The Gum), as moments that were truly “revealing” for the album as a whole during its making.


What else? The thud and thump of ‘La Trampa Sale’ (The Trap is Exposed), and its sudden change of tempo and mood betrays a monstrously ambitious piece of music, the players almost greedily creating the sounds. Other moments are heart wrenching: ‘Libra’ ends on a poppy chord switch that cleverly ramps up the emotion inherent in the music’s notation. You could almost imagine a teenager in a bedroom forty years ago, rewinding the track over and over on a small, cheap cassette player, unable to get enough of that sugarsweet switch. Elsewhere, Oneohtrix Point Never adds stardust and an unearthly sense of space on the changeable, slightly moody meditation, ‘Pájaro de Fuego’ (Firebird). The record ends with ‘Alzando el Trofeo’ (Lifting the Trophy), a track that could soundtrack a state wedding, what with its beautiful cascading piano parts, a sugary vocal and short triumphal guitar riffs that add a rich patina to the overall sound. Fratti: “When I doubled those vocals on ‘Alzando el Trofeo’ I felt there was an epiphany happening, right at that moment.”


Making a good record is a team game. Tosta and Fratti recall seeing Randall from Circular Ruin Studios in NYC “tweak the drums in ‘Libra’ to make that amazing effect of the gated reverb”, or the shaping of ‘Gotera’, “when (recording engineer) Nate Salon added some synths to the track.” Drummer Eli Keszler, “an amazing and versatile player” had the songs down pat in a couple of days” and, according to Tosta, Oneohtrix Point Never “just came to one of the sessions and we hung out, and after all the recordings he and Nate were together in some studio and out of nowhere they sent us some beautiful tracks for ‘Pájaro de Fuego’! Fratti concurs. “He decided that he wanted to record because he was listening to the record (Nate works closely with him) and he really liked it! It was a total honour, indeed!”


Bedazzled by the playing, the skyscraping ambition in the arrangements and the giddy moments of contrast thrown up by Hagen, we could allow ourselves a brief moment of flippancy and state that Titanic’s new record is Yacht Rock meets Aeschylus, full-on. It’s also worth speculating that, in this hyper-sensitive, intemperate age, Titanic’s music has the power, however fleetingly, to heal hurts. Hagen is a brilliant showcase for a fresh and enriching form of pop music: displaying a magpie eye for what glints and plundering what has gone before.


Like Vidrio, Hagen was partially and additionally recorded at Fratti and Tosta’s house, aka Tinho Studios in Mexico City, as well as Golden Girl Studios & Circular Ruin Studios in New York City. Mixing was done by Santiago Parra in Pedro y el Lobo Studios, Mexico City and mastered by Rafael Anton Irisarri at Black Knoll Studios, New York City. The recording engineer was Nate Salon.


Hagen featured Mabe Fratti on cello, vocals & backing vocals, I. la Católica on guitar, keyboards, prepared piano, bass & backing vocals, drums by Eli Keszler and synths in ‘Pájaro de Fuego’ from Daniel Lopatin and Nate Salon.


All compositions on Hagen are written by I. la Católica, except ‘Escarbo Dimensiones’ & ‘Pájaro de Fuego’, which were composed by I. la Católica and Mabe Fratti. The record was produced by I. la Católica and co-produced by Nate Salon & Mabe Fratti. And all lyrics are by I. la Católica except ‘Escarbo Dimensiones’, ‘Gotera’, ‘Gallina degollada’ & ‘Pájaro de Fuego’, which were written by I. la Católica & Mabe Fratti.

Rare groove fans, take note of yet another gem from the good folks at P-VINE as they reissue Les DeMerle's iconic cover of 'A Day In The Life,' famously sampled in O.C.'s hip-hop classic 'Time's Up.' It's a laidback and jazzed up sound with deep cut rhythms, big horns and conversational sax leads that hit different. Alongside the jazz-funk gem comes 'Aquarius' with DeMerle's sharp drum breaks (which in the past have been sampled by Jurassic 5, De La Soul and DJ Shadow) ride beneath funky keys work and joyous horns that persuade you to get up and move. Pressed in very limited quantities, it's a vital addition to any hip-hop or rare groove set.

Unlike anything we have heard from her before, Okkyung Lee returns to Shelter Press with "Just Like Any Other Day: Background Music For Your Mundane Activities", a deeply intimate body of recordings at the juncture of ambient music, minimalism, and the baroque, that stands as radical intervention with what experimental music can be, and the place that organisations of sound occupy in our lives. For more than two decades, Okkyung Lee has stood at the forefront of the most radical trajectories of experimental music: a virtuosic cellist and improviser, renowned for her creative rigour and emotive depth. Particularly noteworthy for her range, dexterity, and adaptability, over the last five years Lee's output has revealed unexpected shifts and developments that move far afield from the realms of free improvisation for which she is most well known. 2020's "Yeo - Neun", a heart-wrenching, ambient chamber work - drawing inspiration from the Korean popular music of her youth - was issued by Shelter Press to great critical response, followed closely by "Teum (The Silvery Slit)" - one of a series engrossing electroacoustic works created at Groupe de Recherches Musicales in Paris - on Portraits GRM, and then "Na-Reul" in 2021, regarded by Lee as a closing statement of more than two decades living in New York, which set the precedent of her allowing her emotions to fully occupy the forefront of the music for the first time. Marking her return to Shelter press, "Just Like Any Other Day": Background Music For Your Mundane Activities", encounters Lee upturning the apple cart once again, weaving a profoundly intimate artistic statement on completely unexpected terms. Like its three aforementioned predecessors, "Just Like Any Other Day" belongs to broadening shift in Lee's approach to composing that roughly aligns with her return to her native South Korea, having lived in the United States since her late teens. Infused with a deep reengagement with her own culture and relationship to memory, it is equally a response to those critical challenges and questions provoked by significant life change. Worked on in isolation, and continuously returned to, over the course of four years, the album's nine pieces began with a simple recognition that experimental music is not always what we imagine it to be. It is a practice and a pursuit - a music for which, at its inception, the outcome is unknown - rather than an idiom defined by certain syntaxes, approaches, and qualities of structure and sound. From this departure point, Lee began to inquire after the utility of music itself: what is it for, what does it do, and what place does it (or can it) occupy in our lives? This solitary and durational journey, each composition gradually moving through different phases and evolutions over years, led Lee toward uncharted ground: a music that is not only playful, introspective, and seductive, but also intended to provoke a relationship to experimental music beyond its normative expectations. Rather active or deep listening, it pursues passive listening. Rather than a grand statement, it is discreet. Rather than virtuosity, it embraces the elegant and direct. Even more strikingly, for the first time, the music of "Just Like Any Other Day" encounters Lee leaving the cello entirely behind. Created at home on keyboard, computer, and an inexpensive cassette recorder, "Just Like Any Other Day" presents a remarkable form of ambient music - organisations of sound that become their own environment, to be occupied - intended, as the album's subheading infers, as Background Music For Your Mundane Activities. An expansion of the creative pathways opened by the Korean pop imbued compositions of Yeo - Neun, aspects of electronic process explored by "Teum (The Silvery Slit)", and the emotive foregrounding of "Na-Reul", each of the pieces presented across the two sides of "Just Like Any Other Day" implies something far greater than the limits of its own temporarily: a mood, provocations of memory and place, mirrors for the solitude within which it was made, and palpable emotion lingering just out of grasp. For Lee, each of the album's compositions could be continued or looped for an indeterminate duration: straddling a ground between the minimal and the baroque, enveloping the listener in endless cycles of appreciating, repetitive and rhythmical notes, flirting with the melodic and implying a disembodied imagism that borders on the profound. Remarkably beautiful and direct, Okkyung Lee's "Just Like Any Other Day: Background Music For Your Mundane Activities" - issued by Shelter Press on vinyl - represents a radical reconfiguration of experiential music, stripped to its bare essence in defiance of the widely presumed aesthetic signifiers. Unlike anything we've heard from her before, this immersive body of intimate recordings not only reveals new dimensions of Lee's striking range as an artist, but also of how we might regard and occupy music itself: an ambience to lived and felt like a second skin.

In a changing, unpredictable and turbulent world, something we can always rely on is a new Orb album, with the next holiday-for-the-head never far away. On what is quite possibly the millionth longplayer helmed by electronic lifer Alex Paterson; partnered with the now firmly-entrenched boy wonder Michael Rendall; the inspirationally productive outfit yet again deliver the goods, with one of their best yet.

Bone White & Orange Splatter Vinyl. John Carpenters Soundtracks für die jüngste Halloween-Trilogie, die er zusammen mit seinen langjährigen Mitarbeitern Cody Carpenter und Daniel Davies komponierte, markierten die Rückkehr des legendären Regisseurs und Komponisten zur Filmmusik nach fast zwei Jahrzehnten Pause. Halloween (2018), Halloween Kills (2021) und Halloween Ends (2022) wurden alle von David Gordon Green inszeniert, der Carpenter bereits früh in die Vorproduktion einbezog und ihn schließlich als ausführenden Produzenten und Soundtrack-Komponisten für die Trilogie engagierte. Halloween Expanded, ursprünglich 2019 veröffentlicht, erscheint nun in einer brandneuen Verpackung und ist damit ein neues Highlight für Fans, das sie ihrer Sammlung hinzufügen können. Halloween aus dem Jahr 2018 war ein Erfolg, der die kühnsten Träume aller Beteiligten übertraf. Der Film startete mit den höchsten Einspielzahlen in der Geschichte von Blumhouse und den höchsten in der Geschichte der Halloween-Reihe. Es war unvermeidlich, dass bald zwei Fortsetzungen, Halloween Kills und Halloween Ends, grünes Licht erhielten. Green unterschrieb für die Regie beider Filme, wollte aber nicht davon ausgehen, dass John, Cody und Daniel für die Filmmusik zurückkehren würden. ,Ich nehme nichts als selbstverständlich hin", sagt er. ,Man hofft also, dass sie eine gute Erfahrung gemacht haben. Ich weiß, dass wir Spaß an dem Projekt hatten, aber man weiß nie, wie die zeitlichen und finanziellen Interessen der Leute aussehen und all diese Dinge. Die Realitäten des Geschäfts, des Filmemachens, laufen nicht immer so reibungslos ab. Aber es gab keine Probleme. Wir sahen uns an und sagten: ,Wie können wir das hinbekommen? Lassen Sie es uns noch einmal versuchen.` Zweimal." Die erweiterte Version von Halloween enthält mehr als 28 Minuten zusätzliche Musik aus dem Film und bietet ein noch vollständigeres, immersives Hörerlebnis. Das zusätzliche Material der erweiterten Ausgabe umfasst insgesamt 24 neue Titel, die auf zwei weiteren Seiten der Deluxe-Doppel-LP verteilt sind. Diese neue erweiterte Ausgabe enthält brandneues Artwork von Chris Bilheimer und ein exklusives 24x36-Zoll-Poster, das von Creepy Duck entworfen wurde. Erweiterte Versionen der Soundtracks zu ,Halloween Kills" und ,Halloween Ends" sowie ein Box-Set mit allen drei erweiterten Editionen werden ebenfalls am selben Veröffentlichungstag bei Sacred Bones erhältlich sein.

Repress!

Biosphere is the main recording name of Geir Jenssen (born 30 May 1962), a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.



Cirque - originally released in 2000 - was Biosphere's first album for the UK label Touch. This new re-issue comes with a 6-track bonus album and new artwork.



Mojo (UK): Fourth full album from ambient pioneer. Coming to prominence with 1992's Microgravity - which along with the first couple of Aphex/Polygon Window CDs, defined the genre ambient - Geir Jenssen as Biosphere has made three of the '90s' best albums, culminating with last year's near beatless Substrata. The idea - as it always was thanks to Eno's On Land - is music as environment (reflecting, creating): working from his base in Tromso, Arctic Norway, Jenssen offers a polar, Apollonian exploration of the human psyche. Cirque is a perfectly constructed 47-minute sequence: cold clarity up against real depth of field, synth cycles dissolving into sudden moments of sonic revelation that sound like a waking dream - try the first 20 seconds of Black Lamb and Grey Falcon. (And if you think that's pretentious - your loss). Inspired by the story of a young American, Chris McCandless, who walked alone into the Alaskan wilderness and perished, Cirque balances the tightrope between warmth and unease, resolving into a moon melody that leaves you a peace. What a good record! Jon Savage.

pictured cover sealed in shrink wrap (first time ever on Samosa)



Samosa Records comes back with a real summer bang in the form of the ‘Afro-Ritmo EP’ – a four-track journey into afro soaked vibes courtesy of Anura & Sr. Lobezno and featuring label boss De Gama!

First up on side A is the EP’s title track, the mesmerising ‘Afro Ritmo’. Anura & Sr. Lobezno announce their arrival on Samosa Records with this spicy West African rhythm bomb. Kakaki trumpet fanfares meld with intricate synth stabs and ethereal Oja flute, whilst the solid tribal beats and rolling bass dictate the dance moves. And dance you must…

Track 2 is the deliciously glitchy, conga bonanza ‘Sungu Sa’. Make no mistake, ‘Sunga Sa’ is out to get you from the very first beat – tempting you to go behind the curtain as the haunting guitar lures you ever closer to its secret door. Dark, uplifting and ritualistic, the chant of ‘Sunga Sa’ will live in your head rent free well after the sun has gone down. Don’t say you weren’t warned.

Over on Side B De Gama takes the title track ‘Afro-Ritmo’ and applies his unique sonic rubs, balms and enhancers to create a pulsating after hours jam full to the brim with Afrotropic sparkle and magic dust. Like an unstoppable chugging train steaming through a savanna, De Gama is the conductor supreme as the raspy synth, bluesy guitar riff and uplifting brass fanfares entwine around that pounding beat.

Finally, Track 4 gives us the seriously powerful Javier Morrilas remix of ‘Afro-Ritmo’. The original is stripped right down and given the Big Beat treatment for this insanely good take – a peak time switcheroo of a track that keeps you guessing as to where it’s taking you. As the flutey breakdowns and broken beat madness get you, you will fall in love with this one instantly.

The ‘Afro Ritmo’ EP is a powerful, masterful four tracker from Anura & Sr. Lobezno which is well at home in the Samosa Records cooking pot. Spread the word, buy the vinyl. You won’t be disappointed.

• Reviewed with love by The Black Light Disco

Written, Produced, Arranged and Mixed by Anura & Sr. Lobezno.
Keyboards & Percussions: Anura.
Trumpet: Jimmy Garcia
Sax & Flute: Carlos Ligero
Trombone: Prudencio Valdivieso

*Remix and Additional Productions by Stefano Gamma aka De Gama for De Gama Rec - Rome.
Jazz Guitar & Acoustic Bass by Pietro Nicosia.

** Remix and Additional Productions by Javier Morillas.

All tracks mastered by Francesco Pierguidi at L’n’P Studio – Rome.

Artwork and computer graphics by Nerina Fernandez.


SMS038

"One Hit Wonders" ist eine dynamische Doppel-LP-Zusammenstellung, die die unvergesslichen Songs feiert, die den Äther beherrschten und zu zeitlosen Klassikern wurden. Diese Sammlung vereint legendäre Hits aus verschiedenen Jahrzehnten und Genres, von den energiegeladenen Beats von "You Spin Me Round (Like a Record)" von Dead or Alive bis zum sanften Yacht-Rock von "Steal Away" von Robbie Dupree. Mit Tanzhymnen, gefühlvollen Balladen und genredefinierenden Titeln ist dieses Album eine nostalgische Reise durch Songs, die trotz der Tatsache, dass sie die einzigen großen Chartstürmer ihrer Künstler waren, in der Musikgeschichte unverzichtbar geblieben sind.

Diese sorgfältig zusammengestellte Auswahl umspannt die Welten von Pop, Rock, Funk, R&B und Hip-Hop. LP1 enthält Wohlfühl-Hits wie "Walking on Sunshine" von Katrina and the Waves, den Synthie-Pop-Charme von "Wouldn't It Be Good" von Nik Kershaw und die eindringliche Schönheit von "Only the Lonely" von The Motels. LP2 hält die Energie hoch mit funkgetriebenen Grooves wie "Play That Funky Music" von Wild Cherry, der filmischen Magie von "Neverending Story" von Limahl und sanften Balladen wie "Because I Love You" von Stevie B. Jeder Track auf dieser Compilation ist einkultureller Meilenstein, der von der ersten Note an erkennbar ist.

"One Hit Wonders", herausgegeben von MPO, ist ein Muss für Musikliebhaber, Sammler und Fans von klassischen Hits, die Generationen überdauern. Ob Sie diese Hymnen wiederentdecken oder zum ersten Mal erleben, dieses Album fängt die Magie von Songs ein, die Geschichte geschrieben haben, auch wenn ihre Schöpfer nie wieder denselben Erfolg in den Charts hatten. Sichern Sie sich noch heute Ihr Exemplar und lassen Sie sich von der Musik in die Momente zurückversetzen, in denen diese Titel die Charts beherrschten und und die Welt in ihren Bann zogen.
Tracklisting

Fresh techno from the Lowlands by two veterans of the Utrecht scene. Quince made his debut 20 years ago on the renowned Delsin label, while Sayne is the latest alias of DJ, producer and label owner Nuno Dos Santos. All three tracks are built around a single initial idea. Both producers expanded the idea independently, before coming together to forge the final result. The title track Orange has a nice Detroit vibe with its shuffle rhythms and bouncing rimshots, while Klonneplein 1 (an Amsterdam square all too familiar to visitors of a populair techno party) navigates the wobbly bridge between Sterac and Andy Stott. The closing track Work is one for sweaty basements, where bass lines tug viciously at your trouser legs. Raw, distorted jakbeat in a frayed techno jacket. If you like to lose yourself, this sixth EP on the Nowhere label is a good place to start.

Auf 500 Stück limitierte 2025er Nachpressung vom 2013er La Luz Debütalbum auf rotem Vinyl. LA LUZ aus Seattle sind cool. Doch ihre Art der Coolness hat nichts mit Distanz oder Arroganz zu tun; es ist eine Laune und irgendetwas in ihrer Musik passt zum düsteren, unwirklichen Duft sterbender Monde und Schatten. Diese Art von Coolness. Was LA LUZ da besonders macht, ist die Verkörperung des am wenigsten definierten Eckchens des menschlichen Daseins: Sehnsucht und die flüchtige Erleichterung, die mit tiefster Sehnsucht einhergeht. Auf Spanisch steht LA LUZ für ,Licht" und das ist der perfekte Ausblick, wenn die Songs der Band eigentlich in die gegenteilige Richtung streben. Doch wenn man die Texte ausblendet - eine gute Entschuldigung, den vierteiligen Harmonien noch mehr Gehör zu schenken - findet man die Unwegbarkeiten und Schmerzen von Liebe und Verlust und die Gewissheit, dass nichts im Leben für immer ist, vorgetragen mit einer perfekt ausbalancierten Heiterkeit, die fast den Eindruck entstehen lässt, dass am Ende doch alles Sinn macht. Im letzten Frühjahr begaben sich LA LUZ in einen dunstigen Trailerpark, um ,It's Alive" mit ihrem Freund und Toningenieur Johnny Goss aufzunehmen. Vom ersten Drumroll und den unheimlichen Akkorden von ,Sure A Spring" an - einem angekratzten Popjuwel, das das Album einläutet - bewegt sich das Album wie eine langsame Fahrt auf schwieriger Strecke, die sich schlängelt und abfällt, während sich das Terrain verändert. ,What Good Am I?" erinnert mit dem Leadgesang und den dazu passenden Harmonien an den Superhit von MAZZY STAR. Mittendrin findet sich der Titeltrack. ,It's Alive" ist ein klingender Rocker mit unheimlichem Refrain, einem großen Batzen ,ooohs" und einer umschweifigen Geschichte, die die vernebelte Logik vom Rest des Albums aufgreift. Zwei Instrumentalstrücke, ,Sunstroke" und ,Phantom Feeling" zeigen, dass die Band über den echten Surf Sound Bescheid weiß und passen perfekt zum unterkühlten Herzschmerz um sie herum.

Jessica93, prodigal bastard of our glorious french squat scene, relocated on Born Bad : this is no picnic. Geoffroy Laporte, alone against all odds, alternates bass and guitar to build harsh loops with a drum machine spitting pre-Gulf War patterns. That’s where it gets tricky : every musical posse claims him. Grunge, sure, but Jessica doesn’t indulge in necrophilia. His circuit is punk, he doesn’t dress the part though. Cold wave, the atmosphere fits somehow, but the gear does not. The self-confident rock horde saw him playing with hair in his eyes… but he never joined the Party. Metal had something to say but sadly, nobody listened. Maybe it's time to give it a rest and let Jessica93 cook his great misery broth on her own, called « 666 tours de périph’ » (666 laps on the beltway). Witnessing Jessica93 live makes you dread that he'll get up the next morning, drive 200 miles and one nap later kick it again, when it takes us a good week to recover from the bad half of that same evening. Like so many other unknown soldiers during our very own world war of music, he patrols small venues relentlessly.



At the heart of this cultural pentacle painted by french weirdos Bryan's Magic Tears, and Carine Krinator, Jessica93 has built a sound validated by years of chosen vagrancy, birthing bands with joyously stupid monikers, in the humid jungle of small labels. Jessica93's debut album had a track celebrating Omar Little, HBO’s gay bandit from Baltimore. This story begins on the beltway, where Florence Rey, accidental copkiller turned to political icon of the 90’s. Geoffroy offers his brilliant analysis : " C’est la police qui nous tire d’ssus / C’est mon trou d’balle qui leur chie d’ssus « (Police shoots us down / my dripping asshole gets the job done).



A previous album was haunted by bedbugs, this one is essentially about love, a delicious scourge just as hard to eradicate. Two black diamonds peek out of the LP : ’’La colline du crack’’, heartbreak song about the ultimate temptation of violent delights, located on crackhead central in Paris. The brilliant chorus, ‘Take my hand and come with me to Crack Hill’ will put an end to the rumours, almost everything was really false. And Bébé Requin, alternative obituary that’ll make you shiver, where our nice couple states ‘’on kiffe la drogue dure et les ptits chiens’ (‘we love hard drugs and little dogs’). And that is the reason we face the wall of sound jostled by unnecessary shoulder thrusts: those nice fat chunks of charcoal poetry, hidden under light sarcasm.



The rest of the record demonstrates the know-how acquired in loop-by-loop construction of ruins that are pleasant to squat in together. There’s your classic doom delicatessen, with bits of heavy metal inside, crafted with the manic care typical of hard wankers. Arthur Satàn, who produced and mixed the album at home in Bordeaux, helped him get his head out of the reverb safe house. And Jessica93 took the opportunity to switch to the dark side of the language : french at last. Worth the wait ! Sing along : « nique sa mère / nique sa grosse mère » (translate that yourself).

Zurück zu den Anfängen. Sharp Pins' Nummer-1-Hit und Wendepunkt in der Jugendrevolution-Propaganda. Ein klarer Aufruf an alle Mods, die noch zu jung waren, um sich in der Quadrophenia Alley die Knie aufzuschürfen: Robinsons Garten auf dem Weg der neuen Welle.

‘When The 2000s Clashed: Machine Music For A New Millenium’ is the story of how, 25 years ago, a new form of electronic music – known as electroclash - reignited a tired clubland and gave the indie scene and mainstream pop a shot in the arm in the process. Over this 3LP highlights set, carefully curated from the 5CD box of the same name (also released, 3rd October) the collection showcases the back-to-basics electronic beats that heralded in a new generation of exciting and innovative new artists - Hot Chip, Peaches, LCD Soundystem, and Ladytron, to name a handful. It also shows how the sound and attitude of electroclash plugged into the decade’s cutting-edge indie bands, (Franz Ferdinand, Bloc Party), and became intrinsic to the way chart pop would sound in the first decade of the 2000s (Kylie, Goldfrapp).

The collection also shows how the scene’s underground DIY ethos evolved and inspired the next generation of electronic buccaneers (Simian Mobile Disco, Justice Vs. Simian). ‘When The 2000s Clashed’ brings together a dazzling, diverse selection of artists, producers and remixers from right across the 2000s zeitgeist – from The Chemical Brothers and Daft Punk, from M.I.A. to Soulwax and many points in-between. For good measure, there’s also one side of LP3 given over to the original post punk and electronic sounds (including Kraftwerk, The Human League and Cabaret Voltaire) who’d played such a big influence on the electroclash sound. ‘

When The 2000s Clashed’ was compiled and sequenced for Demon / Edsel by Jonny Slut, founder of London’s electroclash citadel Nag Nag Nag. Established in 2002, in a small Soho venue called Ghetto, ‘Nag’ quickly became THE hottest club, first in London and then in the whole world. A glorious mess and hedonists’ hotspot, a night at ‘Nag Nag Nag’ (if you could get in!) saw the capital’s club kids, students and creatives rub up alongside names from the fashion and music worlds - Björk, Pet Shop Boys, Kate Moss, Boy George, Alexander McQueen, and Pam Hogg were among the regulars. Madonna visited, so did John Peel, Yoko Ono asked to perform and did, Throbbing Gristle’s Chris and Cosey DJ’d, so did Marc Almond, and Too Many DJ’s.

Justin Timberlake was refused entry (too many bodyguards)… even Cilla Black was spotted getting down! Jonny shares these reminisces – and many more - in the collection’s sleevenotes. Named after the 1979 Cabaret Voltaire classic, ‘Nag, Nag, Nag’ became the first place to hear the seemingly endless flow of thrilling new tunes coming from every direction during that decade of dance. Many of them are included on this collection.

Two-time Grammy-nominated singer-songwriter Madi Diaz is known for her raw and unflinching explorations of love - and now she"s delivered her most powerful statement yet. Stripped down and emotionally direct, "Fatal Optimist" captures Madi at her most intimate and courageous. Together with producer Gabe Wax (known for his work with Soccer Mommy and Zach Bryan), she set out to pare the songs back to their essence, relying solely on her performance and songwriting. The result is a classic and timeless indie-folk album. "Fatal Optimist" follows her critically acclaimed 2023 album "Weird Faith".

Two-time Grammy-nominated singer-songwriter Madi Diaz is known for her raw and unflinching explorations of love - and now she"s delivered her most powerful statement yet. Stripped down and emotionally direct, "Fatal Optimist" captures Madi at her most intimate and courageous. Together with producer Gabe Wax (known for his work with Soccer Mommy and Zach Bryan), she set out to pare the songs back to their essence, relying solely on her performance and songwriting. The result is a classic and timeless indie-folk album. "Fatal Optimist" follows her critically acclaimed 2023 album "Weird Faith".

Nevertel, are set to release their Epitaph Records debut album, entitled Start Again. The Florida-based trio - comprised of vocalist Jeremy Michael, rapper/guitarist/producer Raul Lopez, and guitarist Alec Davis - are a rare breed in an era saturated with genre tags and algorithm-chasing playlists. Drawing on a cocktail of nu-metal nostalgia, hip-hop grit, and EDM adrenaline, their sound feels less like a blend and more like a carefully controlled detonation. It"s a vision honed through years of DIY hustle and an unshakable commitment to quality over trend. Bonded in adolescence over music and late-night gaming sessions, the trio turned those formative obsessions into a full-fledged project that has steadily built a digital groundswell. From self-releasing two fulllength albums and a pair of EPs to amassing over 1.5 million streams per week, Nevertel"s trajectory reflects a slow burn in a culture obsessed with instant virality. Citing touchstones like Linkin Park and Bring Me The Horizon, the band pays homage to the titans of their youth while shaping something unmistakably their own: emotionally raw lyricism, razor-edged riffs and breakdowns. It"s equal parts catharsis and chaos. Now signed to Epitaph Records as of 2023, Nevertel are poised to enter their next chapter with momentum at their backs.

In a changing, unpredictable and turbulent world, something we can always rely on is a new Orb album, with the next holiday-for-the-head never far away. On what is quite possibly the millionth longplayer helmed by electronic lifer Alex Paterson; partnered with the now firmly-entrenched boy wonder Michael Rendall; the inspirationally productive outfit yet again deliver the goods, with one of their best yet.

A mythical tune for all serious digital reggae collectors, finally reissued. The obscure Junior Khadaffy (various spellings!) released only a handful of tunes in the mid-late '80s, but all are fantastic. This one was cut for E&F Studios in the Bronx, ran by the late artist I-Plee. Stereo Fletcher happens to be family to I-Plee, producing several records by the artist for his own labels. But the works went both ways, and Stereo produced this one for release on E&F's in-house label. Slick but killer digital reggae, this one has always reminded us of the production style of Little Kirk's "Weed Them Out", a fantastic arrangement, great vocals and a complex head-nodding rhythm. The original press is extremely rare and the tune is simply too good to remain that way, so here it is, top top top shelf '80s digital, now available for all.

"Eight tracks of jagged electronics, heavy basslines, and fractured spoken word collide in a body-jerking soundclash that is both raw and vital."
Good On Paper enjoyed "Baldauf’s crisp, distanced tones accompanied by Roe’s ominous, pulsating programmed bass line and four-to-the-floor whack, coaxing pure pop out of tension and incongruity." Electronic Sound Magazine hailed the LP as "a blistering, club-forward workout", with "top-drawer, nose-bloodying electronics,’" positioning the Stroud duo as "rather like a wonky Tom Tom Club with added grit."

NATURAL ROOTS MUSIC, tuned to the rhythms of the Earth! A special mix by Rooing SWE from the previous Roots & Foundation (CD) release, Side A: All
Those Who Love the Earth (Roots Man Foundation). Side B: The Danjiri Festival (Prayer for a Good Harvest) in Senshu, Southern Osaka. This first 7-inch release
pays tribute and gratitude to the local area.

As a DJ, I prioritize three key points when selecting music. I'll introduce this record in relation to those points.
The first is the power of the intro. I'm always grateful for killer tunes that get the floor moving naturally. The A-side, which begins with a catchy trombone, is a
perfect example of that. Natural Roots' performance is so dark that it almost makes you forget that you're in Osaka, the city of laughter.
The second is about the lyrics. Especially in times like these, I want to share a positive message with everyone. Frontman Livity Tabasuke sings straightforwardly
about his feelings for the Earth. It reminds us of the gratitude we often forget in our daily lives. Above all, his voice is soft and soothing.
The third is the 7-inch format. If you're going to take it to a venue, nothing beats a small, light record. The older I get, the more my hips instinctively tell me to.
The dub-inspired instrumental tunes on the B-side are also fantastic, and the album's functionality continues to increase. I also appreciate the addition of the
shinobue flute, a unique instrument unique to Senshu, a renowned Kansai reggae region, which adds to the local feel.
This album, which captures all of these elements, is extremely practical for me. I'm sure I'll be using it for a long time to come. I sincerely hope that the limited
edition of 300 records reaches reggae fans all over the country.

"Dunya", der Titel von Mustafas meisterhaft ausgearbeitetem und atemberaubend zärtlichem Album, bedeutet aus dem Arabischen übersetzt so viel wie "die Welt mit all ihren Fehlern". Ein hochtrabendes Thema für einen jungen Songwriter, aber wie bei jedem Thema, das im Mittelpunkt der Arbeit des sudanesisch-kanadischen Künstlers steht - von religiöser Hingabe bis zu Kindheitstraumata, von Bandengewalt bis zu romantischer Intimität - nähert er sich durch eine persönliche Sichtweise. Er mischt Genres und Stimmungen, verwebt romanhafte Details in einprägsame Folksongs und hat ein Album geschaffen, das sich wie eine Reihe persönlicher Durchbrüche anfühlt, die einer nach dem anderen eintreffen. Was zuerst an Mustafas Musik auffällt, ist seine Art zu schreiben: ein einfacher, durchdringender Ton, der jede Geschichte so roh und ernsthaft wirken lässt wie die Worte eines Liebesliedes. Mit seinem leisen Vortrag, der seine Umgebung zum Schweigen bringen kann, entwickelte sich Mustafa schnell vom Wunderkind, das in seiner Heimatstadt Toronto Gedichte rezitierte, zu einer Kraft, die hinter den Liedern steht und Popsongs schreibt. Auf "Dunya" ist er zu einem eigenständigen Autoren gereift. "Ich versuche, das gewöhnliche Leben im Ghetto zu bewahren und zu feiern", beschreibt Mustafa seine lyrische Inspiration. Die Songs, in denen er sein Aufwachsen und seinen weiteren Lebensweg beschreibt, sind gleichermaßen entwaffnend in ihrer Einfachheit und vielschichtig in ihrer emotionalen Bandbreite. Durch die Zusammenarbeit mit Aaron Dessner, Rosalía, Clairo, Nicolas Jaar und anderen sowie Mustafas langjährigem kreativen Partner Simon Hessmann offenbart die Musik eine selbstbewusste, unverwechselbare Stimme, die noch nie so massenkompatibel geklungen hat.