Cerca:no inc

Formed in 2007 in the Dolomite Alps region of Italy with a deep admiration for their native country’s hardcore punk luminaries in La Quiete and Raein, as well as eighties and nineties cult heroes in Negazione, Wretched and Indigesti. STORMO’s steady rise from unassuming beginnings has been one of consistently stirring song writing. Having amassed over 400 shows across Europe and the UK - including support slots to Converge, Full of Hell and La Dispute, as well as appearances at Fluff Fest - STORMO’s next chapter sees the band fully come of age. Lyrically, Endocannibalismo was written entirely in the band’s native tongue; partly as a byproduct of the albums nocturnal and instinctive writing process and partly in honour of their history as a band. Recorded and mixed by Giulio Favero (Zu) for mixing before being placed in the hands of Giovanni Versari at La Maesta for mastering, Endocannibalismo’s 11 tracks possess a crystalline clarity to service STORMO’s surging blastbeats, spiralling rhythms and noise punk cacophony, whilst staying true to the each songs deep seated primal nature. Seeking to tie together the whole process visually, STORMO took to artificial intelligence when creating Endocannibalismo’s art. Utilising specific prompts, the AI render was put through stages of mutation before culminating in its final form. A haunting graphic representation of living beings in a state of constant death and rebirth.

With their emotive melodies, propulsive rhythms, angular guitars and dark cinematic electronics, TRAITRS have quickly become one of modern post-punk’s fastest rising independent bands. Consisting of Sean-Patrick Nolan and Shawn Tucker, TRAITRS formed during the summer of 2015 in Toronto, Ontario Canada. The duo recorded demos with producer/engineer Josh Korody (Nailbiter, F*cked Up, Japandroids, Dilly Dally), garnered the attention of Pleasence Records label head James Lindsay and released their debut cassette Rites And Ritual in April 2016. After gaining buzz in the European and North American dark music scenes, TRAITRS released their critically acclaimed LP Butcher’s Coin (Pleasence Records, Manic Depression Records, Alchera Visions) in May 2018. Backed by the strength of lead single ‘Thin Flesh’, the duo embarked on a series of lengthy tours overseas, performed in over a dozen countries including showcases at Wave Gothik Treffen, Castle Party, Extramuralhas, Nocturnal Culture Night, Wavefest, Canadian Music Week and Pop! Montreal. Their relentless touring schedule and work ethic caught the attention of Schubert Music Publishing’s Thomas Thyssen and Eric Burton, and in October 2020 they announced TRAITRS as the first signing to their brand-new record label Freakwave Records. This year, TRAITRS will release ‘The Sick, Tired And Ill’ EP on July 30 and the full-length LP ‘Horses In The Abattoir’ on November 19.

Gatefold double LP with insert

We recorded this album almost 15 years ago. So much has happened since then, but we feel very connected to these songs and they still mean a lot to us. The intense atmosphere, the eerie sense of loss and melancholy that this record conveys fits perfectly into the world of today. We live in urban wastelands and are surrounded by more and more isolated people who are increasingly losing touch with everything. It is hard to find some hope in these days dominated by stories of war, ecocide and solastalgia, yet many people tell us that they have found a glimmer of hope, a small portion of positivity within these songs, which are dark and bleak, but also offer some relief, some light in the darkness. That is why we decided that this record, which means so much to so many, deserves a proper remaster that on the one hand preserves the spirit of the original tracks, but on the other hand is accompanied by two re-recorded songs that in a way show the changes we have gone through as human beings and as musicians.


The future may look bleak, but all is not lost yet.
This record was and is still dedicated to those who feel.

Originally Released in 1999, this much sought after package is back with new art and a suave ass gatefold jacket! Beginning their career as a Midwestern garage band, the Dwarves made an abrupt change once they moved to San Francisco, maintaining their recklessness, but getting faster and faster. Free Cocaine traces the arc of that development, collecting singles, demo tracks, and other sessions from that time period, beginning with the Lucifer's Crank EP, and progressing onward. Most early tracks betray tremendous musical inadequacies -- at this point, the Dwarves were hardly the polished pop-punkers they would become by the time they signed to Epitaph. Nonetheless, even this raw material has plenty of catchiness, playing ability issues aside. The album also collects compilation cuts like "Lesbian Nun" from the Amrep compilation Dope, Guns, and Fucking in the Streets and singles all the way up through the late '90s on Man's Ruin. Though known primarily for their hard-living, and reckless violence at shows, with most sets clocking in under 20 minutes, the Dwarves, at this juncture, were the best in the underground rock world at what they did: cooking up fast-as-hell, catchy, raunchy hardcore punk. (allmusic). Mixing Lucifer's Crank, Toolin' For a Warm Teabag and other early Dwarves singles, EPs and unreleased tracks this is the noise rock Dwarves at their most untamed. Zero production value, maximum profanity. Hits include Eat You To Survive, Fucking Life and Dead Brides in White.

Originally Released in 1999, this much sought after package is back with new art and a suave ass gatefold jacket! The early paisley garage Dwarves are represented here tearing through their first LP (Horror Stories) and early singles and unreleased tracks that predate their rebirth as punk icons. Thrill to tambourines, Farfisa organs and background vocals with attitude! Hits include Living Sickness, Don't Love Me, Get Outta My Life. "Lick It is everything right on up to the Horror Stories LP. What it plays like is blacklight fractured genius. Part Nuggets adulation, a healthy dose of Cramps style un-repentant psychosis, all lathered with helpings of oozing sexual whatsis. This one's got thirty-four flavors so it's kinda tough picking particular stand-outs. ... I mean, there're plenty of glances towards the future here to clue anyone in as to what was coming." (lollipopmagazine)

Deluxe vinyl reissue of the Dwarves' 2004 magnum opus, The Dwarves Must Die. Originally released on Sympathy for the Record Industry and long out of print, this reissue compiles the whole album plus two awesome bonus tracks. Full bore punk rock meets noise and garage rock and all the sleaze you fit on a 12 inch piece of vinyl. "There are punk, garage, and metal sounds, of course, along with the catchy, over the top pop that was featured on 2000's Come Clean and some hip-hop that's just plain fun. Dexter Holland from the Offspring, Nick Oliveri from Queens of the Stone Age, Nash Kato from Urge Overkill, and the man who voiced the original Space Ghost -- Gary Owens -- all show up as guests, ... The Dwarves Must Die is tight and doesn't wear out its welcome. As much as the Dwarves try to sabotage their own career with a "stay away" attitude, their music keeps getting better and better. If it wasn't for the blood and nudity, they'd be huge. (allmusic)

Purple Vinyl

London’s abundant waterways and parks provide an oneiric muse for Cucina Povera and Ben Vince’s resounding debut full-length collaboration, an engrossing suite of weightless sax, synth and disklavier-bedded soundscapes that land somewhere between Grouper and Terry Riley.

As a newcomer to London, Rossi was caught up in a sort of wondrous reverie - a feeling that seeps through every movement of thia almost hour long album. Vince's plasmic echoes and Rossi's aerial delivery form a poetic union, twisting and painting each sound in pearlescent shades, finding a musical confluence between Rossi's words - fluid, dreamy, hazy ideations - and Vince's shadowy renditions.

Rossi's folk roots shine through like cracks of dawn sunlight on 'Sumu Puistossa' ("fog in the park"), reverberating over organ and dream-zone sax; her words tip into muted surrealism thanks to the controlled chaos of Vince's bleak treatments. His grasp of jazz is transfixing: bending sax motifs like ghostly memories of music from another timeline, smudging them into the soundfield. It’s most effective on the title tracx, where sickly, dissonant notes flicker like an almost-extinguished candle alongside motorised furniture music courtesy of a Disklavier.

From the Terry Riley-esque transcendence of '∞' to the sacred incantation of long-form closer 'Pikku Muurahaiskeko' ("little anthill"), the pair expose a new layer of creativity with each turn, gradually zooming out from discreet, vulnerable beauty to encompass a gently orchestrated chaos of sustained, sublime tension


[b] 02. [_]

Gotts Street Park are a proud bunch of throwbacks. The Leeds-based trio - Josh Crocker (bass, production), Tom Henry (keys) and Joe Harris (guitar) - met through various music studies and friendship networks. Individually their tastes are diverse: from North Indian classical to experimental jazz, soul to alternative hip hop but their vision is united: “The idea of doing things live in one room has always been important,” remarks Josh. “That’s how they used to do it. Our identity evolved from that.”

The inception of the collective goes back to around 2012. There have been minor line up tweaks - they currently record with a rotating list of drummers - but the philosophy has stayed the same: an ongoing pursuit to capture the raw, unparalleled vibe that comes from recording music together, usually as one take, sometimes to analogue tape.

That approach is a deliberate call back to the methods made famous by legendary studios like Sun and Stax in Memphis, or FAME and Muscle Shoals in Alabama and their in-house bands. That’s why for years, GSP set up their own studio in a shared house in a tough (but, crucially, affordable) corner of west Leeds, Armley. Gotts Park (historically the home of industrialist Benjamin Gott) was close by - the group’s name was a nod to their local geography but also the fact it sounded like an area plucked straight out of some of their favourite East Coast hip hop releases.

Their work was quickly noticed, and it was from that base where they began working with an eye catching list of collaborators: Rejjie Snow, Kali Uchis, Cosima, Yellow Days, Chester Watson, Greentea Peng and Benny Mails. Tom also played keys in Mabel’s band. Early on, while performing as a band for hire for those artists, they were simultaneously honing their own sound; a deliberately retro “heavy, saturated” atmosphere that married the languid vibe of traditional soul with the pin sharp clarity of contemporary hip hop. Old leanings, sure, but upcycled with their own modern twist. “We’re constantly trying to build a catalogue,” says Tom. “Writing new stuff and sending it out to people.” That’s why after the release of their debut EP, ‘Volume One’, in 2017 the invitations kept coming; most notably from Brits Rising Star award winner Celeste, with whom they recorded two tracks on her debut EP ‘Lately’.

‘Volume Two’ once again features an impressive raft of vocalists - all female - from established names to fresh talent. This time, musically, the overall tone is lighter; less gritty, more optimistic. “It’s definitely not as gloomy,” says Josh. “Still though, there is this kind of dark, mysterious thing that we do a lot that works,” he continues. “Like the song we’ve done with Grand Pax, for example - it’s got that kind of witchy darkness to it. I think if you do a really straight male soul voice, it can be a bit cheesy and sound like you’ve heard it a million times before.”

Their collaborations might be some of the freshest of 2020 but make no mistake: Gotts Street Park are out there looking to create something timeless.

The pioneer of electric pop music, Giorgio Moroder (born April 26, 1940 in Ortisei, Italy) is an internationally acclaimed songwriter and producer who left his trace also in Finnish popular music. Several Moroder’s compositions and productions were released in Finland with Finnish lyrics in the 1970s and 1980s, when Moroder had his most creative peak. This compilation includes twelve Finnish Moroder covers from early bubblegum pop to electronic disco. Giorgio Moroder began his musical career as a singer. He gained success performing bubblegum pop in the late 1960s. He wrote some of his hits himself, but he also sang songs written by others. During his singer years he succeeded with songs Looky Looky (1969) and Son of My Father (1971). The latter became well known also in Finland, where it was covered by one of the most famous Finnish singers in 1960s and early 1970s, Ilkka Lipsanen alias Danny. The song found its way to Finland via Britain, where British band Chicory Tip had covered it first and made it to the charts with the song. Danny was not the only Finnish singer in the early 1970s who looked at Moroder’s repertoire when searching for good songs. Koivistolaiset was a singing and dancing duo of sisters Anja and Anneli Koivisto who were well-known celebrities in 1970s Finland. They released Moroder’s composition Good Grief Christina as On siitä aikaa in 1973. This song was also discovered from Chicory Tip’s repertoire. Cheerful and danceable bubblegum pop was an early 1970s phenomenon and in Finland it was the most popular music played in discos during those years.

Mum No Hands’ - an assured four tracker that draws on Bristol bass, footwork, jungle and broken techno to create something fresh and upfront. A certified stalwart of the Bristol scene, Yushh (aka Jen Hartley) is already well on her way to becoming a household name. Over the last few years she has toured extensively across Europe’s festival and club circuits, landing sets at Freerotation Festival and HÖR along the way. Her label, Pressure Dome, is known internationally as a go-to outlet for various offshoots of forward-thinking, soundsystem-ready UK techno, with a roster that includes Sputnik One, Caldera, Ido Plumes and Cando. So far, she has only teased her production skills with a string of one-off drops and remixes, including features on Rhythm Section, Banoffee Pies and All Centre. On ‘Look Mum No Hands’ she finally lays out the blueprints for her unique, club-honed sound. The title track skips along at a nippy 160 bpm, driven by a slow/fast halfstepping beat and monster bassline that places it somewhere between DMZ and Teklife. ‘Same Same’ drops the tempo down to 130 bpm, with loungey keys and a skippy vocal chop offsetting a cavernous low-end. On the flip, ‘Close Fall’ squeezes darkside d’n’b sonics into a chugging 95 bpm beat template, while ‘Self Couscous’ takes an intricate, glitched approach to jungle/broken beat reminiscent of mid 00’s Planet Mu. Genre: Dance / Bass

Repress!

Tarenah was one of only two singles pressed under the nom de plume of Psychedelic Research Lab - a collaboration between Scott Richmond and John Selway which began while the pair were attending music conservatory at SUNY Purchase College, in upstate New York. Scott produced the first version of the track for a modern dance performance in 1993. A mix of electronics and room full of live musicians, the session featured an afro-cuban percussionist, a Bangladeshi vocalist / tabla player, a classical flautist, and a reggae guitarist, with Scott on keys and engineering, and John on multiple TB-303s. The duo played the piece to a pal, who said, “Listening to your music is like being in a psychedelic research lab” and the moniker was born. DJ Jonathan Kadish, the chill out resident at pioneering NYC rave, NASA, championed the track and subsequently commissioned four remixes for his label, Gyroscopic Recordings.

The tune has been elevated to legendary status in certain circles - due to it being a firm favourite of “The Godfather Of Chill-out”, the late DJ Jose Padilla. Jose at this time had a penchant for “ambient breaks / breakbeats” - seminal stuff like the work of San Francisco's Hardkiss crew and other Bay Area artists. According to close friend Phil Mison, drawn to the Chill Mix, Jose Padilla played and played Tarenah at Ibiza`s Cafe del Mar. It was a daily constant in Jose`s sets for several seasons, and he eventually included the track on the second volume of his essential compilation series honouring said White Isle shrine - put together in the mid-90s for the label React. Sealing the tune`s fate and making Tarenah forever synonymous with Jose and the golden, halcyon, San Antonio, Cala Des Moro, sunsets he soundtracked.

The 3rd Floor Mix, named after the location of the SUNY Purchase studio, is tribally-tinged uplifting progressive house - taking its cues from the contemporary Dutch imprints, Fresh Fruit and Touche. John Selway’s Remix (titled “Spy’s Sub Mix” on the original pressing) strips the track back to a cool, more minimal, jack - heavily influenced by the “bleep” sound of Sheffield`s Warp Records. The Sleepwalker Mix is beatless. Tailored from twisting, intertwining, 303 drones.

Following Tarenah, Scott and John continued devoting their life to dance music. Scott went behind the scenes, founding - alongside Jonathan Kadish - the famous Satellite Records dance music record store chain. He also ran the house and trance labels, Central Park and Pitch Black. In recent years, Scott has worked in artist management, and within the global music festival scene, primarily with Vh1 Supersonic and Ticket Fairy India, which has taken him to Mumbai, Goa, and Pune. John has had an amazingly prolific electronic music career, building a vast, and varied catalogue of productions - both solo, and through collaboration. From Disintegrator and working on Deep Dish`s debut single, to Smith & Selway and The Rancho Relaxo Allstars. Along the way finding the time to run labels such as Serotonin and CSM. Currently John is teaching and mentoring the next generation of electronic music artists at 343 Labs music school, while still producing forward-thinking techno and electro.

This is the first time Tarenah has been reissued in full on vinyl, and Midnight Drive are very proud to present this sublime underground classic once more. Reissued in full conjunction with John Selway and Scott Richmond, remastered by Curvepusher, London and distributed worldwide by Above Board distribution 2022.

The inception of 49North marks the beginning of a brand new era for Duncan Forbes; who most emphatically made his mark on the WW scene as one half of legendary duo - Spooky - alongside Charlie May; releasing a string of landmark singles and albums over 3 decades, not to mention timeless remix / production work for International heavyweights like Depeche Mode, M83, Sasha, William Orbit, Mr.G and Apparat.

A1: ‘Strobe Dancer’
“Duncan Forbes’ maiden solo voyage and first ever release on recently birthed imprint, 49North - 'Strobe Dancer' is 9+ minutes of exquisitely-paced, hypnotic dance-floor drama. Sitting somewhere between Deep, Acid House and Slo-mo, Dub Techno - Duncan's opening effort is a wickedly brooding, yet seductive joy to behold.”

B1: ‘Continental Drift’
“After the hypno-House stylings of 'Strobe Dancer' - Duncan takes us to another far-flung corner of his scopic, creative spectrum - via the fittingly titled, ‘Continental Drift’; a pitched-down, acid-glazed slice of mesmeric, widescreen Electronica.”

B2: ‘In The Mansion Of The Gods’

ZEHRA is proud to present the debut album ISTEHLAL by the MOHAMAD ZATARI TRIO, consisting of musicians from Syria, Iran & India. The trio merges traditional Middle Eastern sounds with contemporary vibes incl. interpretations of Hossein Alizadeh & Riad Al-Sunbati classics.

In a contemporary globalised world where music has lost its borders and is fighting a constant – yet particular – stream of Western commodification, the Mohamad Zatari Trio stands out as an original cultural artefact, aiming at transcending the boundaries between different music worlds.
Founded in 2019 the ensemble had its first public appearance in 2020 at the Outernational Virtual Festival. Comprising the performers Sara Eslami (Iran) on tar, Avadhut Kasinadhuni (India / Romania) on tabla and Mohamad Zatari (Syria) on oud.
Their debut ISTEHLAL plunges into its own aesthetics, politics and sound intricacies and represents the combined efforts of three musicians hailing from different, yet deeply rooted cultures. Over the course of eleven songs, the album transcends stylistic, ideologic and
geographic boundaries and reflects on the human condition in an interconnected and interrelated technological world. The repertoire includes not only original compositions in different stylistics
but also rearranged traditional pieces by influential composers Riad Al Sunbati (Egypt) and Hossein Alizadeh (Iran).
The Mohamad Zatari Trio introduces itself as a strong new voice within a new generation of young musicians that carry the musical heritage of great masters like Ravi Shankar, Nusrat Fateh Ali Khan or Zakir Hussain with a fresh and contemporary approach.

Mohamad Zatari is a composer and oud player from Aleppo, Syria, currently based in Bucharest, Romania. His artistic effort is devoted to deconstructing stereotypes and blending various musical genres. He has been taught traditional and regional music by Tarek Al-Sayed,
and has a Bachelor in classical composition at the National University of Music Bucharest (2021). His compositions were used for short films as well as educational courses. He performed in various ensembles and groups, in countries such as Syria, Romania, Hungary, Germany, Italy
and Austria.

Sara Eslami is an Iranian composer, tar and setar instrumentalist and improviser. She has a bachelor's in musical Performing at the Tehran University of Arts (2011).


Romanian/Indian Avadhut Kasinadhuni has a Master in Musical Performing / Violin at the National University of Music Bucharest (2022) and started studying tabla intermittently in India with Prof. Kamal Kant (2008) and Prof. Durjay Bhaumik (2017).

Credits:
Recorded by Alexandru Zaharencu at Avanpost media, Bucharest, Romania
on 29th & 30th January 2022
Mixed by Dirk Dresselhaus at ZONE, Berlin, Feb. 2022.
Mastering & lacquer cut by Anne Taegert at D&M.

* Comes with an 8 page booklet **

The Dead Mauriacs is the project of French artist Olivier Prieur, "Paravents et miroirs, une cérémonie" is a live soundtrack.

The Dead Mauriacs describe their music as "Exotica Concrete" - their music is composed of field recordings made on a daily basis, as well as a diverse collection of sounds, including piano, Indian harmonium, violin, ukulele, didgeridoo, pieces of wood, glass, paper, and metal plates. The album is a spectacular 40-minute sound collage, assembled by sampling Exotica music represented by musicians and arrangers such as Les Baxter and Arthur Lyman, who were active in the 1950s.

"Exotica is a musical genre or sub-genre that emerged in the 1950s in the United States with musicians and arrangers like Les Baxter or Arthur Lyman. It is an extraordinary music because it is false: bird calls imitate bird songs, you can hear the sound of the waves, it is a Western fantasy, particularly North American, of a world and an imagery that never existed. It is a music associated with mass tourism, mass entertainment, consumerism. Arthur Lyman recorded about 30 records in 10 years in Waikiki. With his band, they played and recorded under a geodesic aluminum dome. The dome belonged to the owner of the hotel he played for every night. They did this at night to avoid noise. It's music that is both profoundly naive and totally flawed. In this, it is seductive and intellectually interesting. It is music that could easily be criticized today, but it is an imaginary in itself, like the Italian film music of the 1960s and 1970s." (Excerpt from the calax's interview)

The Dead Mauriacs are not only involved in music, but also in a wide range of other creative endeavors, including video and painting. He also repsonsible for the artwork of this LP. The inside of the product is also accompanied by an 8-page interview with Mauriacs and compiled his amazing artworks.

The Dead Mauriacs
Paravents et miroirs : une cérémonie / Screens and mirrors: a ceremony

Side A
Courte dérive, une ouverture / Short drift, an opening
Le retour des insectes électriques / The return of the electric insects Les oiseaux étranges / The strange birds Tension, terreur factice / Tension, false terror
Dénouement malais / Malaysian ending
Rituels et vanités 1 / Rituals and vanities 1
Rituels et vanités 2 / Rituals and vanities 2
Italiens dʼHambourg / Italians in Hamburg

Side B
Secrets pour piano / Secrets for piano
La suite Monory, Padoue-Le Caire-Nassau / The Monory Suite, Padua-Cairo-Nassau Hommes à découper / Men to cut out Lassitude moite / Clammy weariness
Le soleil artificiel du pont croisière / The artificial sun on the cruise deck
Pirogues et palmiers, vus de la scène / Pirogues and palm trees, seen from the stage La traversée / The crossing Rideau / Rideau
Fields recordings : Semproniano and Siena, Italy, Figueira, Portugal, Charentes, France. An electrical wire with a frequency shifter gave birth to the insects. Real and fake piano. Everything made with a computer and a midi keyboard.
Music premiered at Hörbar, Hamburg, 28th of December 2017. Music (and video) Olivier Prieur.
Thanks to Thorsten Soltau and all people at Hörbar.
Hello to Felix Kubin & Marie-Pierre Bonniol, Julia & Jan Warnke. Kisses to Hélène.

Heinz & Franz was a home recording project by Heinz Havemeister and Frank Bretschneider. The recordings took place in 1987 and ’88 in the DIY studio “Sonnenklang” in Karl-Marx-Stadt (now Chemnitz), always at night. The mixing desk was self-built. 50 copies of the tape were released on Bretschneider’s label klangFarBe. Heinz Havemeister was a guitarist with the Bolschewistische Kurkapelle and co-editor of the art samizdat “LIANE”. Frank Bretschneider is considered an electronic pioneer of the GDR underground scene. He worked in a range of projects, including with the legendary band AG Geige. In 1995, Bretschneider co-founded the Rastermusic label, which cooperated with musician Carsten Nicolai’s noton label. Both labels merged in 1999 to form Raster-Noton, an influential label for experimental music in Germany. Bretschneider’s work has appeared on labels such as Mille Plateaux, Quatermass or Staalplaat.

Imagine a designer, who, after having traveled around the world, cuts her hair in a crew cut, sings « Voyage, Voyage » and will thus become number 1 in more than fifty countries including France, Germany, Spain, Russia, Israel, and many Asian
countries ! A real media phenomenon, Desireless hits a second hit with « John » before bowing out and heading off to other horizons.
We were no longer going to be deprived of the desire to listen to these now cult titles which met with dazzling success in the firmament of the Top 50 and European hit parades. This album, which includes 10 fully remastered tracks, is the ultimate testimony to the dazzling career of the New Wave diva and her collaboration with talented producers, such as her friend DJ Esteban, who delivers a super International Club Remix. The pop icon also offers an amazing acoustic version of her favorite hit, for the first time
on vinyl !
Limited Series, Colored Vinyl, including 2 versions of Voyage, Voyage.

It’s not often that an artist creates something so unique
and unpredictable that an entire genre is created
because of it, but here we are, Scene Queen and
‘BIMBOCORE’ have arrived.

 Fed up with a genre of music filled with gatekeepers
and judgmental hard rock purists, Scene Queen has
unleashed the most daring, provocative, indefinable
music the world has ever seen.

 Songs like ‘Pink Rover’ and ‘Pink Panther’ are as
daring and raunchy as they are inclusive and
community building.

 In Scene Queen’s world, one can wear pink and like
‘girly things’ while gutturally screaming relatable lyrics
over a metal riff.

 Blending metal, hard rock, and explosive pop, Scene
Queen is making music for a genreless TikTok
generation - the alt kids, the misfits, and the ones that
don't fit in.

 With a heavy following on TikTok and a wildly
entertaining live show that is an experience of a
lifetime, ‘BIMBOCORE’ is the debut of a young scene
kid emerging into the leader of a movement.

 For fans of Ashnikko, Bring Me The Horizon, Poppy.
 Recently performed at Reading & Leeds Festival and
The Great Escape. Upcoming touring with Palaye
Royale (US) and Wargasm (UK).

Bona Fide makes his triumphant return to Lee Burridge’s All Day I Dream label to release the Entropy double-EP.

For his debut EP release on All Day I Dream, Bona Fide showcases a diverse repertoire of sounds across the eight tracks. The record kicks off with the title track, where Bona Fide eases the listener in with soft percussion before incorporating fluttering melodic textures. Another highlight from the A-side is ‘Kikiri’ - a mesmerizing composition spanning nine and a half minutes which features filtered chanting over an enduring drum pattern, balanced out by mystical synth harmonies. On the B-Side, Bona Fide recruits Zone+ to collaborate on ‘Alter Ego’, a stripped-down groover with an infectious bass-line, and Wassu to collaborate on ‘Love Sparkles,’ a joyous track with maximum danceability.

Entropy may sound familiar to some, as unreleased cuts from the record have been staples of Lee Burridge sets worldwide over the last year and a half. Bona Fide’s main stage performance at the inaugural All Day I Dream Festival in Northern California left fans wondering when he would next be featured on the label. Delivering the eight track Entropy EP to be released in both digital and physical format, Bona Fide makes a massive contribution to All Day I Dream, as the world-renowned label adds another wonderful EP to their catalog.

Recorded in 1994/95 at PCP Labs. Mixed at Conway Studios. Except "Minus" recorded at G-Son Studios and "Ramshackle" recorded at The Shop, Sunset Sound and Conway Studios and mixed at Conway Studios.

All songs published by Youthless / Kobalt Music Publishing / Dust Brothers Music ASCAP except "Ramshackle", "Lord Only Knows" and "Minus" published by Youthless / Kobalt Music Publishing ASCAP

"Devil's Haircut" contains a sample from "Out Of Sight" (James Brown) published by Fort Knox Music BMI, performed by Them, courtesy of the Decca Record Co.; a sample from "Soul Drums" (Bernard Purdie) published by Tenryk Music BMI, performed by Pretty Purdie, courtesy of Sony Music; and elements from "I Can Only Give You Everything" (Philip Coulter/Thomas Scott) published by Carbert Music ASCAP.

"Hotwax" contains a sample from "Song For Aretha" (Bernard Purdie/Horace Ott/Robert Thiele) published by Tenryk Music/Well Made Music BMI, performed by Pretty Purdie; and a sample from "Up On The Hill" (Monk Higgins/Alexandra Brown) published by Special Agent Co./Tippy Music Publishing ASCAP, performed by Monk Higgins & The Specialties, courtesy of Blue Note Records, a division of Capitol Records, Inc.

"Lord Only Knows" contains elements from "Lookout For Lucy" (Mike Millius/Don Thomas) published by Southern Music Publishing Company, Inc. ASCAP performed by Mike Millius, courtesy of MCA Records, Inc.

"The New Pollution" contains a sample from "Venus" (Brad Baker) published by Sonny Lester Music Publishing Co. ASCAP, performed by Joe Thomas, courtesy of LAC Ltd.

"Jack-ass" contains a sample from "It's All Over Now, Baby Blue" (Bob Dylan) published by Special Rider Music SESAC, performed by Them, courtesy of Decca Record Co.

"Where It's At" contains a sample from "Needle To The Groove" (Embden Toure/Khaleel Kirk) published by Hit And Hold Music, Inc. ASCAP, performed by Mantronix, courtesy of Warlock Records.

"Sissyneck" contains elements from "The Moog And Me" (Dick Hyman) published by Eastlake Music, Inc. ASCAP, performed by Dick Hyman, courtesy of MCA Records, Inc. and elements from "A Part Of Me" (Paris/Taylor) published by Zethus Music, administered by Chappell & Co., Inc. ASCAP. All Rights Reserved. Used by permission.

"Readymade" contains excerpts from "Desafinado" (Antonio Carlos Jobim/Newton Mendonca) published by Bendig Music/Corcovado Corp. BMI, performed by Laurindo Almeida And The Bossa Nova All Stars, courtesy of Blue Note Records, a division of Capitol Records, Inc.

"High 5 (Rock The Catskills)" contains elements from "Mr. Cool" (Vincent Willis) published by Cotillion Music Inc./NAP Publishing Co./ Sylheart Publishing Co., administered by Warner-Tamerlane Publishing Co., Inc. BMI performed by Rasputin's Stash, courtesy of Atlantic Recording Corp., by arrangement with Warner Special Products, Inc.

2023 Repress

The New Record From Flaneur Recordings Comes From Rockford Inc. His First Release Came Out On Jay Haze's Turning Spork To Later Be Followed Up With Another One On Hamburg Label, "baalsaal" Along With Diverse Remixes For The Berlin's "sonar Kollektiv". Here, He Brings Us A 3 Track Ep With A Long, Deep A-side, The Track Spreads Over 11 Minutes, Always Changing While Keeping The Foundations Strong. He B-side Brings Us, "why Not A Piano", A Classic Call To The Dancefloor Deephouse Number. The Ep Finishes Off With The B2, A Drum 'n Bass Oriented Track With New York Born Singer Desney Bailey.