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Born to a Frafra father and an Akim mother, he grew up in the rainforest of southern Ghana before moving up to the land of the Frafra in the savannah of northern Ghana as a young boy. Growing up in Namoo, his father's village of origin, he was deeply impressed by the glorious moments he experienced during the services at the village's church. All that singing and drumming ensured he was thefirst at church every Sunday, long before the service even started.

His only wish at the time was to be old enough to join the church choir. When he turned thirteen his wish came true and he instantly had hisfirst studio experience, as the choir recorded a series of cassettes on which he performed.

After he hadfinished school he focused on his own career as a Frafra-Gospel artist. In 2007 he released hisfirst album, but it took anotherfive years for him to have his break through as a leading singer. Since the release of his third album in 2012, which contained the original version of "Mam Yinne Wa", he was booked for almost all of the festivals and celebrations in the region and was also invited to almost all of the countless Frafra communities which exist all over Ghana.

In 2013 Max Weissenfeldt visited Bolgatanga, the capital of the Frafra for thefirst time. When he stepped out of the bus at the main market a song by Alogte was playing loudly through some big speakers. He was immediately captured by the music and arranged to meet with Alogte. After a short introduction they both agreed to do some recordings.

Weissenfeldt had some instrumentals with him, so he charged his laptop well, packed his microphone and Alogte drove with him through the savannah into the backcountry of the Frafra land. When they had arrived in Namoo, Max set up his studio and Alogte assembled the Sounds of Joy. The result was "Zota Yinne", which became Oho'sfirst single released on Philophon in 2014. For some reason the song became a hit in Reggae sound system circles and is already a very sought after collectors item.

The same year Weissenfeldt returned to Ghana from Germany with some fellow musicians to play an extended tour through Ghana alongside Alogte Oho & His Sounds of Joy and Kologo master Guy One (Guy One - #1, released on Philophon in 2018). During that tour he learned a dozen songs by Alogte. Following this, 2016 saw the release of the follow up single "Mam Yinne Wa". In the same way as the locally released version pushed Alogte to the top of Frafra- Gospel singers, this newly produced version made him a global player.

Mam Yinne Wa - God, You Love Me So. It looks like that somebody has heard him!

Inspired by revolutionary efforts against oppressive hegemonies in Detroit, and in Black locales around the world, Memoirs of Hi-Tech Jazz is a sound score evocative of that resistance. It is also a reminder that although violence and injustice looms, it is not the only story: we are much more than what oppresses us. The album celebrates Black leisure and play; the mundane joys that persist in spite of the depleting realities of the world.

Movement, and the very mobility of the car specifically is integral to Memoirs of Hi Tech Jazz. Timed perfectly to match the duration of a round trip drive from Underground Music Academy in the North End, to Detroit’s island park, Belle Isle - the album is undoubtedly best experienced while driving.

That journey signifies the transition from labor to pleasure: from the neighborhood of the Techno Museum in North End to an outdoor park that has long been a destination for Black Detroiters to cookout, park their boats, play spades, and listen to local music.

Memoirs of Hi-Tech Jazz embodies the feeling this place engenders—a reprieve from the midwestern work ethic, and a reminder to ground in the pleasures of your body and the land.

The French psycho-indie-rock band La Femme announces the release of Teatro Lucido, their new studio album sung entirely in Spanish, released on November 4, 2022. During their time touring in Latin America and Spain, La Femme wrote a Spanish song called "Le Jardin" for their previous album Paradigmes. This track led them down the path toward creating Teatro Lucido, their first full album sung entirely in Spanish. Similar to their previous albums, La Femme wrote, composed, and produced Teatro Lucido themselves, inviting numerous female singers to participate in the process. The album found birth through their adventures in Seville, Grenade, Madrid, Mexico City, Cuautepec, Padul_ where they had so many moments of laughs and joys, tears and disappointment. Teatro Lucido draws from many of La Femme's inspirations including the famous Semana Santa in Spain; pasodoble, reggaeton, Brasilian, and Andalusian rythms; classical guitars, and Movida of the 80's. Teatro Lucido is the name of a mythic theatre where La Femme has played many times in Mexico. It is the first album from a thematic series they have planned called "Collection Odyssée."

Krill's debut album Alam No Hris is celebrating its tenth birthday in 2022
With assistance from actual label Sipsman, the band's fake label Sren Records
has remastered Alam No Hris for the occasion and pressed it to vinyl for the very
first time, available November 18 worldwide. Simply put, Alam No Hris is a baker's
dozen of nervy, charming, lofi missives disguised as garage pop songs. Whenever
I think about Alam No Hris the repetitive, incoherent joy on display in many of the
songs I think of it as ecstatic', bassist/ vocalist Jonah Furman says. The whole
thing is like someone stammering to express themselves in a moment of
overwhelming emotion. Ecstatic in the full sense, of standing outside of yourself.

EERIE WANDA ist das Projekt der niederländisch-kroatischen Musikerin Marina Tadic, die mit ,Internal Radio" ihr drittes Album veröffentlicht. Die bildende Künstlerin und Musikerin wird auf dem neuen Album von ihrem Partner Adam Harding (DUMB NUMBERS, KIDBUG) und der Produzenten-Legende Kramer (GALAXIE 500, UNREST, WEEN, DANIEL JOHNSTON) unterstützt. Auf diesen elf Songs wird deutlich, dass Tadic zu der Künstlerin wird, die sie gerne sein möchte und nebenbei noch einige Dämonen austreibt: ,This album is different than anything else I've made. I think I have entered a new chapter. Hope you enjoy." Während ihre früheren Alben eher auf beschwingten, gitarrenbetonten Indie-Pop ausgerichtet waren, klingt ,Internal Radio" wie eine experimentellere, jenseitige, ernsthafte, erwachsene Angelegenheit, die sich in sensibles, emotionales Terrain wagt. Die intimen, persönlichen Songs spiegeln die Einsamkeit wider, die viele von uns in den letzten Jahren empfunden haben, und erinnern an Künstler wie LIDA HUSIK und EDITH FROST.

LAVENDER Coloured Vinyl. Recommended If You Like: Cocteau Twins, Julee Cruise, Antena, Young Marble Giants, The Pastels, Mazzy Star, Norma Tanega. A cinematic ocean of sound. EERIE WANDA's Marina Tadic draws you into her inner worlds on these 11 new songs produced by Kramer (Galaxie 500, Unrest, Ween, Daniel Johnston.). On Internal Radio, the new album by Eerie Wanda, visual artist and musician Marina Tadic welcomes you to her inner world. Guided by intuition, Tadic's songs use haunting, ethereal space, growing whole universes from the seeds of ideas. Internal Radio documents Tadic becoming the artist she wants to be, working through some things, and even exorcizing a few demons. The result is the most realized Eerie Wanda album yet, building on the project's guitar pop past for a more experimental, other worldly, serious grown-up affair that ventures into sensitive, motional territory. "Pet Town is delightfully airy; a set of songs that have drifted in on a breeze from some strange and foreign landscape you won't find on any map.” Gold Flake Paint // “Tadic’s melody here is part of that Brian Wilson lineage … she sets those notes adrift with a casually graceful minimalism… It evokes a pleasant stroll through a city at the moment when night begins to fall on a daydream.” Stereogum // Tracks: 1 Sail To The Silver Sun 2 NOWx1000 3 Long Time 4 On Heaven 5 Confess 6 Nightwalk 7 Someone's In My House 8 Sister Take My Hand 9 Birds Aren't Real 10 Puzzled 11 Bon Voyage

‘Happiness, Guaranteed’ is about the cyclical nature of our modern dissatisfaction. It’s a brief dive into the frustrations our desires bring in our attempts to reach a level of contentment. Each song explores the pursuit of happiness within our relationships, our work, and our wealth all whilst finding ways to be content with what you have whilst balancing a desire to grow. Having come off the back of touring our first record Shadowboxer we were keen to get back in the room together and start writing new material. Traditionally we had taken the approach of writing sketches alone and sharing them with each other in the studio. We wanted to shake this process up and decided to rent a house, set up our instruments, and play freely together with no expectations, we did this over a couple of months. A lot of the music we made during those sessions felt like new territory for us and a move in the right direction. One of the first songs we landed on was MORE, which is based around a character disillusioned by their desire for consuming possessions. It’s a tongue-in-cheek exploration into how we’re sold happiness with what we can buy, something which we all really resonated with at the time -filling our apartments with furniture, buying gear, and settling back down into a post-tour life. Don’t Wait was another important piece of the puzzle. It’s a song that reckons with a break up and greeting the great unknown. It was a more joyous moment in the record, touching on the freedoms of growing up and having a better understanding of who you are and what you want in a relationship. The Trouble with Us was a similar exploration but focused more on the pain and frustration of a relationship ending. Throughout the record there’s this desire to arrive, to reach what we’ve been promised in life, a sense of completion and happiness.

It’s almost four years since their last opus - two years since the most-recent run
of live shows. Now, Bitchin Bajas return from whatever kind of rare ether they
occupy when they’re at home, bearing the riches of the whole cosmos in their
hands. And strictly OG as well - on cassette only.
 ‘Switched On Ra’ is the outcome of a typical Bajas exercise: pouring some out
for the pioneers that came before (as they’ve done with Bitchitronics and their
participation in the annual Chicago performance of ‘In C’ over the years). It’s a
nice way to get a flow - they play a little of themselves, then some for the
pioneers, then a little more for the band. Before long, they’re playing with the
inspirations twined, as they can only come from within.
 For ‘Switched On Ra’, this meant a deep delve into the song-book of one of their
soul-predecessors, Sun Ra, whose music is literally written in the Bajas DNA.
Digging into this music sounded wild on paper: the drone synth group taking on
the Arkestra harmonies and Ra’s loose grooves? The trick was to get that sense
of rhythm to translate across the spectrum from Ra to Bajas, in a way that
worked for them both.
 Their rearrangements of the tunes went good - up and down the EQ band, they
were finding the round sounds and jagged edges that brought Ra’s music into
their own thing. Then at the last minute, there was another twist - why not pay
tribute to the Queen herself, and think of the arrangements with a Wendy Carlos
vibe? A little side homage? After all, ‘Switched on Bach’ was visionary, bringing
analogue synths from the outside all the way into the mainstream in the late 60s -
and this take on Ra is meant to take him to new ears everywhere.
 Sun Ra of course was his own kind of original keyboard visionary, using electric
keyboards in the late 40s and 50s to fill a role in jazz that had traditionally been
played on acoustic piano only. Once he’d done so, he took his writing in
directions inspired by the electricity, places no one had thought to go before
then.
 Bitchin Bajas have been content to dominate in a microtonal world, usually
without a single chord to be found anywhere. But here, they step up righteously,
their vibe triangulated as they bring Ra’s music forward with some Wendy C
style, making an unexpected space for all to thrive. There’s a real feeling of joy
as these collected signals bounce off the tape and through the speakers into
your space.
 To get this unique colloid exactly right, Bitchin Bajas used nineteen different
keyboards. They abstained from deploying their arsenal of reed and woodwind
instruments: everything had to be on the keys. This meant Yamahas, Rolands,
Korgs, Casios, a MicroMoog and of course their trusty Ace Tone organ. They
even broke out the Crumar DS-2, to have some of Ra’s chosen tone in the mix.
Then Jayve Montgomery added an EWI as a solo voice on a few tunes, just to
get some air-blown signal (and a natural shout out to EWI master Marshall Allen)
in there, after all. It felt like somewhere in the universe, Ra was decreeing it.

Folk Implosion's fan favorite album is available on cassette for the first time! They say there's always something special about the first time and this record is that first time for the Folk Implosion. The band left the acoustic guitars and fragmentary sketch modus operandi of their earlier cassette behind to focus on an eccentric version of home studio craft, held together by a few cheap microphones (including a Radio Shack PZM) and a Tascam cassette 4-track recorder sequestered under the eaves of a 3rd floor, Cambridge Massachusetts double-decker house apartment. Wood floors and Christmas lights were as much a part of the vibe as an Ampeg VT 40 guitar amp and a small chord organ. The duo would wait until the downstairs neighbor went to work in the morning and then would play until the tunes snapped like a high-pitched snare drum. The setup would close down just before the neighbor came home from work, keeping the peace long enough to see the project through to completion. Once tracked, the band snuck into Fort Apache studios with Tim O'Heir (producer of Sebadoh's 'Bakesale' LP) early one morning, freeloading off the Sebadoh sessions that were set to get going that afternoon. Tim mixed the songs through a very hi-fi Neve board in a matter of hours with the Tascam sitting right on the giant board like a tugboat keeping time with an oil tanker. The duo hoped that the spirits of ancestors like The Troggs, Devo, Al Green, and The Bee Gees would be pleased with the scent of tribute that arose from the ashes of the pyre. Today, they are pleased to see the Slaps and the Sputniks on view again nearly 30 years later. Tracklisting: 1. Blossom 2. Sputnik's Down 3. Slap Me 4. Chicken Squawk 5. Spiderweb-Butterfly 6. Had To Find Out 7. Better Than Allrite 8. Why Do They Hide 9. Winter's Day 10. Boyfriend, Girlfriend 11. Shake A Little Heaven 12. Waltzin' With Your Ego 13. Take A Look Inside 14. Start Again

Outsider, alt, psych, power trio Jemma Freeman and The Cosmic Something are the aural equivalent of a distorted photograph capturing the hinterland found between emotions and actions. Emerging like joyous sci-fi warriors, the songs either overtly or indirectly demonstrate solidarity with anyone that’s ever identified feeling off kilter with the rest of the universe and needed an equally wonky soundtrack to back it. An introspective journey through psychedelic glam-rock nightmares, woozy flows of self discovery and beguiling lyrics delivered with subtlety and intensity. Jem, Samuel Nicholson (bass) and Jason Ribeiro (drums) are your astral guides in this strange country, illuminating a path, in reality they’re as lost as the listener. In this limbo, thoughts tumble on top of each other through twisted rhythmic guitar, bass and drum lines that interchange and play with each other in a frenzied cosmic dance. // “An onslaught of guitar...” – Popoptica // "lush guitar work and rapid fire energy.. part Kate Jackson part PJ Harvey.” - For The Rabbits // Tracklisting: 1. Big Bread 2. Easy Peeler 3. Nobody Ever 4. Huge 5. Lump 6. Maersky 7. Bugles 8. I Thought Too Much 9. Sicilian Mousse 10. Take Me

While frontman Tom Greenhouse’s off-kilter observations and bizarro anecdotes remain front and centre, this time round the band up their game with a more vigorous sound that keeps pace with Greenhouse’s wholly distinctive lyrical style. Greenhouse continues to revel in telling increasingly surreal short stories, rejoicing in the power of the deadpan one-liner and bedecking his songs with far-flung cultural references. But now the band employ a variety of techniques with improved pro- duction, from the impulsively bashed keyboards and jubilantly repetitive guitar stabs that have be- come their trademark, to flirtations with–heaven forbid!–melody, chord progressions and arrangements which elevate their tried-and-tested blueprint into a more exciting and cohesive whole.

Opener Musicians is the perfect embodiment of this conscious development. Here, Greenhouse re- counts a sarcastic tale of half-truths that see him galavanting around town trying to put a band to- gether. Sonically, it begins with a caustic callback to the group’s first EP Crap Cardboard Pet and its über-minimalist aesthetic. But by the end of the song a joyous festival of afrobeat-inspired in- struments including samba whistles, bongos and saxophones are added to the mix as the front- man, ironically, fails in his mission to recruit more players.

With Get Unjaded, the band have somehow conjured something close to pop, without abandoning the repetition and wit that’s relished by their early fans. I Lost My Head also adopts a jangle-pop sheen with a luscious synth melody, as the frontman ditches the spoken-word for a surly croon (his first known attempt at actual singing!) that provides a welcome breather from the onslaught of dense recantations that are the band’s bread-and-butter.

While the lyrics here are still often humorous and political, Greenhouse has also notably expanded his interests on this album to include a new host of topics. The influence of extraterrestrials, for ex- ample, infiltrates the subject matter frequently. On The UFOs, the mysterious protagonist Blinkus Booth’s isolationist lifestyle is apparently interrupted by the spectres of otherworldly visitors, while closer The Neoprene Ravine feels like an extract from a deep space rock opera. Here, jaunty and angular instruments pile-on as we are fed images of an interstellar Spinal Tap, the titular fictional band “The Neoprene Ravine” who are “the alien equivalent of the Velvet Underground” and include an alien Lou Reed yelping “too busy sucking on my little green ding dong!”.

Meanwhile, Hard Rock Potato is propelled by a vortex of keys and synths, a real noise-pop gem comprised of real guitar chords (!) and rock-orientated riffs. Here the stream-of-consciousness lyrics take shots at the sinister financial industry, and include one of the many top-tier one-liners on the album: “It’s not gambling if you’re wearing a tie (even if you’ve got no trousers on)”.

On Sod’s Toastie, The Cool Greenhouse have pushed their distinctive flavour of post-punk to the point of perfection – their incongruous riffs, alchemical instrumental chemistry, and irreverent spo- ken-word vocals are a delight throughout. Sod’s Toastie is hilarious at times, and at others just hilariously good – a not-so-difficult second album.

For some, melancholy is the joy of being sad. But for A Rocket In Dub, the reawakened project of Düsseldorf producer Stefan Schwander, also known under pseudonyms like Antonelli Electr. or Harmonious Thelonious, Viktor Hugo's famous saying always applies. Two years ago, the Düsseldorf producer and musician released a 4x 7" box set on Krachladen Dub, his first release after a break of 17 years at the time. Now, two years later, 9 new tracks follow as a longplayer on double vinyl and music cassette. Even more experimental, more playful, more hypnotic and with a trombone! Monotony is nice! The rocket is back in the club, teaching genres like house and minimal Jamaican dub deepness again.

Written and recorded between 1972 and 1982 in Western Oregon, Back to the Woodlands is a previously unreleased, and nearly lost, album made by Ernest Hood during the same era as his near mythical album Neighborhoods . A visionary combination of field recordings, zithers, and synthesizers, Back to the Woodlands offers an unprecedented depth of access to this singular artistic mind. Born into a musical family, Ernest Hood began a promising career as a jazz guitarist during the 1940s, touring internationally with his brother Bill Hood and the saxophonist Charlie Barnet , before contracting polio in his late twenties. The disease left Ernest unable to play the guitar and confined him to a wheelchair for the rest of his life. It also forced him to adapt and innovate around his musical practices in the face of adversity; Hood's value of sound matured with a remarkably democratic and nonhierarchical approach and application. Taking up the zither, a less physically-demanding stringed instrument to the guitar, embarking upon the unprecedented process of incorporating field recordings into his work as early as 1956, and eventually discovering the synthesizer, Hood's music became imbued with optimism and subtle cultural critique. This ethos and technique - refined over the coming decades - would lay the groundwork for a sprawling body of radio work, mail order recordings for homebound listeners, and Neighborhoods , self- issued as a small vinyl edition in 1975. Where Neighborhoods , a nostalgic opus, drawing from a well of collective memory of the 1950s, is defined by traces of human activity, Back to the Woodlands leaves the modern world behind, delving into Hood's love for nature. Only recently discovered in his archives, the album dramatically expands his concept of "musical cinematography," imagistically triggering states of sensory memory from within its zither and synthesizer melodies, intertwined with field recordings made during Hood's extensive travels throughout Oregon. If Neighborhoods is a retreat into the gauzy joys of a romanticized past, Back to the Woodlands is an immersion in the timeless sanctuary of the natural world. A fascinating counterpoint to its predecessor, Back to the Woodlands brings us even closer to Hood's belief in the transportive qualities of sound; that field recordings could serve as a vehicle for the imagination and liberation, particularly for those with similar mobile disabilities as his own. Across the album's twelve compositions, the rippling instrumental harmonics - shifting between abstraction and playful melody - fold so seamlessly into the birdsong, bubbling brooks, and other environmental ambiences, that they often give the impression of having been recording within the landscapes toward which they whisper. Falling somewhere between the immersive calm of healing music and New Age, the creative field recording practices of sound ecologists world building for Folkways, and the jazz infected ambiences during Obscure / Editions EG's highest heights, Back to the Woodlands sculpts an singular proximity of music for its moment; a form of ambient sonic realism that draws the consciousness toward its surroundings as much as within. Working closely with his estate to maintain his original vision, Freedom to Spend has restored and remastered this never before released, lost masterpiece by Ernest Hood from the original tapes. Ernest Hood's Back to the Woodlands will be issued on vinyl, as well as on CD in combination with its contemporary Where the Woods Begin , with new liner notes by Michael Klausman . On behalf of Ernest Hood and Freedom To Spend, a portion of the proceeds from this release will benefit Oregon Wild, an organization dedicated to protecting and restoring Oregon's wildlands, wildlife, and waters as an enduring legacy for future generations.

On the cusp of their 30th year with British indie Warp Records, Plaid return with a joyous new studio album, Feorm Falorx. From their playful early releases in the late 80's until now, they have explored diverse musical styles and embraced new methods of synthesis whilst maintaining a musical thread that spins back through the early Hip Hop scene of their youth and beyond to the sounds of the late 60s and 70s that inspired it.

Plaid have toured extensively and collaborated widely over the years, writing for and performing with sonic researchers, percussion groups, solo artists and orchestras, most recently for the BBC Concert Orchestra. They have written for computer games and scored several feature films, one of which, Tekkon Kinkreet, was awarded the Japan Academy Prize for Animation of the Year.

This eleventh studio album finds our duo, Ed Handley and Andy Turner, recreating a recent performance at the Feorm Festival, an intergalactic festival held on the planet Falorx. In order to survive the Falorxian atmosphere they were converted into light so the traditional recording devices they'd taken on 'The Campbell' were not functional. Fortunately, having consulted Earth's Space Agency, it was deemed safe to recreate the performance back in their London studio. Extensive testing of the resulting recordings have established a level of thought contamination deemed, “perfectly acceptable.”

Feorm Falorx will be released Universally on 11-11-22

The 6th release in the 'Foundations' series of classic House curated by DJ Spinna and Kai Alce, Sandee's 1988 masterpiece Notice Me joins seminal tunes from Ralph Rosario, Dreamer G, Cajmere, Chip E & K-Joy and Tyree Cooper to complement this amazing selection of hugely significant and killer heritage tracks. Written by Robert Clivilles and co-produced with David Cole (C+C Music Factory), the pedigree of Notice Me is seriously enhanced by the vocals of Latina singer and original member of the vocal group Exposè, Sandeé (Sandra Casañas) and the sound editing of long time Clivilles & Coles collaborator, the producer and percussionist Luis Rivera. Bass heavy and featuring a drum break that inspired so many great House cuts Notice Me was picked up by DJs of the calibre of Frankie Knuckles and Roman Ricardo on release in 1988. Notice Me became a dancefloor favourite at legendary clubs such as Tunnel and Palladium in New York City and the Riviera in Chicago , subsequently reaching number 9 in the Billboard Dance Charts in 1989. Tragically both Sandeé and David Cole died at far too early ages (46 and 32 respectively) but their places in the pantheon of House music history are assured as the vocalist and the co-producer of Notice Me. Indeed it is an era defining track and definitely a must have in your vinyl collection. A word about the Foundation Series from its curators: Kai:“Well my interest in 7”s is new. I have been a collector of 12”s all my life, House & Disco. Being inspired by JRocc after playing one of Discogs’ Crate Diggers events, my initial focus was on finding House 7”s which proved to be harder than I thought… Most were not available in 7” format & the popular ones that existed were quite rare. So now me and Spinna are trying to fill some of those empty spaces.” Spinna:“45 DJing has become a new excitement among vinyl DJs, but although endlessly repressed on other formats, a few classic house titles have simply never been pressed on 7” vinyl. We ran our ’45 wish list past BBE and the rest is history. When creating the edits we tried to imagine we worked for the original record label and were cutting the ‘radio edit’. The aim: to keep the heart of the track intact while reducing the length to fit the format.”

Written and recorded between 1972 and 1982 in Western Oregon, Back to the Woodlands is a previously unreleased, and nearly lost, album made by Ernest Hood during the same era as his near mythical album Neighborhoods. A visionary combination of field recordings, zithers, and synthesizers, Back to the Woodlands offers an unprecedented depth of access to this singular artistic mind.

Born into a musical family, Ernest Hood began a promising career as a jazz guitarist during the 1940s, touring internationally with his brother Bill Hood and the saxophonist Charlie Barnet, before contracting polio in his late twenties. The disease left Ernest unable to play the guitar and confined him to a wheelchair for the rest of his life. It also forced him to adapt and innovate around his musical practices in the face of adversity; Hood’s value of sound matured with a remarkably democratic and nonhierarchical approach and application.

Taking up the zither, a less physically-demanding stringed instrument to the guitar, embarking upon the unprecedented process of incorporating field recordings into his work as early as 1956, and eventually discovering the synthesizer, Hood’s music became imbued with optimism and subtle cultural critique. This ethos and technique - refined over the coming decades - would lay the groundwork for a sprawling body of radio work, mail order recordings for homebound listeners, and Neighborhoods, self-issued as a small vinyl edition in 1975.

Where Neighborhoods, a nostalgic opus, drawing from a well of collective memory of the 1950s, is defined by traces of human activity, Back to the Woodlands leaves the modern world behind, delving into Hood’s love for nature. Only recently discovered in his archives, the album dramatically expands his concept of “musical cinematography,” imagistically triggering states of sensory memory from within its zither and synthesizer melodies, intertwined with field recordings made during Hood’s extensive travels throughout Oregon. If Neighborhoods is a retreat into the gauzy joys of a romanticized past, Back to the Woodlands is an immersion in the timeless sanctuary of the natural world.

After releasing his self-titled debut album in 2017 (On Agitated AGIT044R), Dion Lunadon (The D4, ex-A Place To Bury Strangers) and In The Red Records is proud to release his sophomore album, Beyond Everything. Beyond Everything will be Lunadon’s first release on In The Red (an ideal match for his music), as well as his first full-length since departing A Place To Bury Strangers. Written, performed and recorded by himself, the songs tap into a raw, palpable energy that blur the line between the music and the person. Drums on the record were played by Blaze Bateh (Bambara) and Nick Ferrante (The Black Hollies). Lunadon says; “The record was written and recorded sporadically between 2017 and 2019. I probably wrote about one hundred songs during this period. The first album was pretty relentless which I liked, but I wanted to make something more dynamic for the second record. Something that could be more conducive to repeated listens. I’d get in my studio, come up with a song title, and start working on any ideas that I had. For example, with ‘Elastic Diagnostic,’ the idea was to create a hum that evokes the sound of life coursing through your body. Everything else kind of formed around that idea.” “An arresting, noise-infected dose of psych-garage.” on “It’s The Truth”—Brooklyn Vegan “An amped up garage psych ripper.” on “Living And Dying With You”—Brooklyn Vegan “A ferocious rocker.” on “Living And Dying With You”—Destroy Exist “A gritty and raw glam-like anthem centered around chugging power chords, Lunadon’s howled and desperate delivery, forceful and propulsive drumming paired with an explosive feedbackdriven coda, ‘It’s The Truth’ further cements the Kiwi-born, Brooklyn-based artist’s reputation for crafting anthems meant to be played as loud as humanly possible.” —Joy Of Violent Movement

Yellow and black splatter

While frontman Tom Greenhouse’s off-kilter observations and bizarro anecdotes remain front and centre, this time round the band up their game with a more vigorous sound that keeps pace with Greenhouse’s wholly distinctive lyrical style. Greenhouse continues to revel in telling increasingly surreal short stories, rejoicing in the power of the deadpan one-liner and bedecking his songs with far-flung cultural references. But now the band employ a variety of techniques with improved pro- duction, from the impulsively bashed keyboards and jubilantly repetitive guitar stabs that have be- come their trademark, to flirtations with–heaven forbid!–melody, chord progressions and arrangements which elevate their tried-and-tested blueprint into a more exciting and cohesive whole.

Opener Musicians is the perfect embodiment of this conscious development. Here, Greenhouse re- counts a sarcastic tale of half-truths that see him galavanting around town trying to put a band to- gether. Sonically, it begins with a caustic callback to the group’s first EP Crap Cardboard Pet and its über-minimalist aesthetic. But by the end of the song a joyous festival of afrobeat-inspired in- struments including samba whistles, bongos and saxophones are added to the mix as the front- man, ironically, fails in his mission to recruit more players.

With Get Unjaded, the band have somehow conjured something close to pop, without abandoning the repetition and wit that’s relished by their early fans. I Lost My Head also adopts a jangle-pop sheen with a luscious synth melody, as the frontman ditches the spoken-word for a surly croon (his first known attempt at actual singing!) that provides a welcome breather from the onslaught of dense recantations that are the band’s bread-and-butter.

While the lyrics here are still often humorous and political, Greenhouse has also notably expanded his interests on this album to include a new host of topics. The influence of extraterrestrials, for ex- ample, infiltrates the subject matter frequently. On The UFOs, the mysterious protagonist Blinkus Booth’s isolationist lifestyle is apparently interrupted by the spectres of otherworldly visitors, while closer The Neoprene Ravine feels like an extract from a deep space rock opera. Here, jaunty and angular instruments pile-on as we are fed images of an interstellar Spinal Tap, the titular fictional band “The Neoprene Ravine” who are “the alien equivalent of the Velvet Underground” and include an alien Lou Reed yelping “too busy sucking on my little green ding dong!”.

Meanwhile, Hard Rock Potato is propelled by a vortex of keys and synths, a real noise-pop gem comprised of real guitar chords (!) and rock-orientated riffs. Here the stream-of-consciousness lyrics take shots at the sinister financial industry, and include one of the many top-tier one-liners on the album: “It’s not gambling if you’re wearing a tie (even if you’ve got no trousers on)”.

On Sod’s Toastie, The Cool Greenhouse have pushed their distinctive flavour of post-punk to the point of perfection – their incongruous riffs, alchemical instrumental chemistry, and irreverent spo- ken-word vocals are a delight throughout. Sod’s Toastie is hilarious at times, and at others just hilariously good – a not-so-difficult second album.

Ron Carter and Richard Galliano decided to risk intercontinental
collaboration for the second time after 1990, when they recorded their
acclaimed album "Panamanhattan" in Paris
Here the French accordion master, whose fingers fly over the keyboard with
acrobatic ease and can make the instrument weep in melancholy or rejoice with
joy. There the American bass wonder, whose deeply tuned strings enhance more
than 2,500 (!) recordings and are among the cornerstones of the complete artistic
works of Miles Davis, Eric Dolphy, Archie Shepp, Herbie Hancock, Aretha Franklin,
Roberta Flack and Antonio Carlos Jobim. Two who have already gained hero
status in their own worlds and can actually only lose when they transgress into
each other's terrain. "Believe me, there is nothing more real than to go on stage
with a gambler," Carter raved about the refreshed liaison with his Gallic buddy.
The two rediscovered the once lost central thread in March 2016 at Jazz Week in
Burghausen as a short intermezzo during a joint appearance with the WDR Big
Band. The provisional climax was then the recording made in Theaterstu?bchen
in Kassel on October 29. Galliano recalled: "Before we got going, I said to him:
"Can you believe it? Twenty- seven years have passed, we are still the same and
I'm still playing the same accordion. To which Ron just responded: "And we have
still same fingers!" With these 20 nimble tools, the two protagonists of the
musical joint venture interact without fear of contact. Neither remains in his
accustomed position. Like two intrepid mountaineers, they balance over a
yawning abyss, perform daring maneuvers and clear the way for each other time
and again. The longer the intimate wanderings of subtle nuances and sensitive,
dancing elegance last, the greater the familiarity seems to be. "Richard really
seizes every rhythmic and harmonic chance," the American marveled about his
French partner. And he replies gallantly: "Ron still looks so young, fresh and
elegant like three decades ago. And he is still enthusiastic, straightforward and
comes straight to the point." An often thoughtlessly used image rarely fits better
than on this very special evening: Ron Carter and Richard Galliano create a
universal musical language, whose vocabulary consists of notes. Risk- free
enjoyment

Laila Sakini's new album 'Paloma' arrives via Modern Love and is her most striking and ambiguous to date - a pointed and timely meditation on hope and hierarchies that riffs on Zbigniew Preisner's magical "The Double Life of Veronique" score and enduring outsider music tome "The Langley Schools Music Project". Subtly transcendent, fathoms-deep music.

When Laila Sakini's debut album ‘Vivienne’ arrived in 2020, it felt like the record we were waiting for to map out our tangled reactions to an uninvited reality. Never self-consciously strange, it revealed itself slowly and cautiously, like a shadow in the corner of the eye, or an alchemical symbol in a bowl of alphabet spaghetti. This time around Sakini has worked her unique world-building to an even finer point, forming six tracks around a theme that's so close to our heart it's almost beating in time. Initially inspired by Krzysztof Kieślowski's 1991 arthouse classic "The Double Life of Veronique", the cult Polish director's enduring modern fairytale that serves as a cosmic rumination on identity and choice. Detailing two identical women - both singers, both in love - the film lets one live as the other dies, forcing us to consider the implications of art and endurance in the face of life's myriad challenges.

Sakini takes Polish composer Zbigniew Preisner's influential score for the film and uses it as a jumping-off point for ‘Paloma’, bending the more grandiose moments into baroque awkwardness on opening track 'Fluer D'Oranger' and evoking the mood of scene-setting cues 'Weronika' and 'Véronique' on the recorder-led 'The Light That Flickers In The Mirror'. And while Preisner's score zeroed in on the musical virtuosity of the film's lead characters, Sakini reinterprets that as a metaphor for self-discovery. Playing piano, violin, glockenspiel, timbale, recorder, and occasionally singing, Sakini captures a mood of innocence that immediately transports the listener back to simpler times. Her music isn't self-consciously simplistic, but forcing herself to interface with instruments impulsively rather than studiously, her sounds are all heart, no filigree.

In spirit, it reminds us of cult Canadian album "The Langley Schools Music Project", a collection of 1970s recordings of school kids singing rudimentary renditions of pop songs in a school gymnasium. That album's genius was in the bottling of hope and innocence: the feeling of joy from hearing and wholesomely interacting with music that's known and loved without a sense of hierarchy or desire for cultural clout. Sakini subtly subverts this by evoking the amateur spirit in the most bewitching way; instead of sourcing her ideas from Bowie, Fleetwood Mac and the Beach Boys, her stock is the established art canon, and by reforming those sounds she makes an insightful comment on intellectualism and access. European classical music is all too often trapped behind the frosted glass of respectability and assumed skill - craft replaces spirit, and technique replaces soul. By approaching these gestures from a different angle, Sakini softens the edges sonically and intellectually, finding music that bubbles with emotion, and most strikingly - hope.

Her choice of instruments and the way she interacts with them allows us to feel as if we're not only listening but contributing. It's a bottom-up way of absorbing art that's traditionally been top-down, and a reminder that we're all part of the experience, whether we're humming along to the remnants of a theme as it dribbles out of an ear in the shower, or dreaming of spotlights in a parallel life that may or may not be real. Sakini's music is nostalgic in a sense, but nowhere near the buttered popcorn and high-fructose candy migraine of the Netflix/Spotify algorithm generation of regurgitated churn. She makes sounds that remind us of what time and experience may have stolen from us, and how we might recover it.

Recommended If You Like: Trentemøeller, Nine Inch Nails, Zola Jesus, Tropic of Cancer, Chelsea Wolfe, William Basinski, oOoOO, The Focus Group/Ghost Box -- hauntology in general. LP on Blood Red Vinyl, LP & CD packaged in a gatefold jacket. First new music since 2018’s Lingering Pt. II. Featuring k Hover (Sound of Ceres) on “Moldering Fragments”. Sleep Party People’s Brian Batz dives into the darker edges of orchestral pop on new album Heap of Ashes. Influenced by primarily Bulgarian choral music, old-school metal, and 21st century experimental composition, the music of Sleep Party People exposes every facet, every moment, and every wound, finding beauty even when the last glow of hope looks like it’s ready to fade into the ashes. Heap of Ashes includes contributions from Halvcirkle, GNOM, and Sound of Ceres’ K Hover. Track Listing 1 It Won't Be Cinematic 2 Tide 3 Spider Cracks 4 Moldering Fragments 5 No. 3147 6 Labyrinth 7 Parched Bodies 8 Pagan Flames 9 Needle

Recommended If You Like: Trentemøeller, Nine Inch Nails, Zola Jesus, Tropic of Cancer, Chelsea Wolfe, William Basinski, oOoOO, The Focus Group/Ghost Box -- hauntology in general. LP on Blood Red Vinyl, LP & CD packaged in a gatefold jacket. First new music since 2018’s Lingering Pt. II. Featuring k Hover (Sound of Ceres) on “Moldering Fragments”. Sleep Party People’s Brian Batz dives into the darker edges of orchestral pop on new album Heap of Ashes. Influenced by primarily Bulgarian choral music, old-school metal, and 21st century experimental composition, the music of Sleep Party People exposes every facet, every moment, and every wound, finding beauty even when the last glow of hope looks like it’s ready to fade into the ashes. Heap of Ashes includes contributions from Halvcirkle, GNOM, and Sound of Ceres’ K Hover. Track Listing 1 It Won't Be Cinematic 2 Tide 3 Spider Cracks 4 Moldering Fragments 5 No. 3147 6 Labyrinth 7 Parched Bodies 8 Pagan Flames 9 Needle

LPC1 is on limited Ultra-Clear vinyl. A well is a stone-encircled place of depth, keeping an abundance of water for survival. “Well” is also a phrase for pause, for transition in language. Our tears can well up and bubble over. To define ourselves as “well” is the most basic term of goodness. What’s on the other side of the well? Inside the tunnel of change, or this life, we can either feel intimidated by the darkness of uncertainty, or excited by the possibility of nourishment. Songwriter, guitarist, and vocalist Jess Shoman wonders, “what the hell,” why don’t we go for the excess of love we deserve? Tenci’s album A Swollen River, A Well Overflowing becomes a gathering and collection of well-like vessels – cups, puddles, fists – to hold tight to this love and newfound joy. A Swollen River, A Well Overflowing is Tenci’s second album, coming after their 2020 debut My Heart Is An Open Field, which introduced Jess Shoman’s music explorations to the world. Shoman admits that their first album dealt with letting go of painful life experiences, resulting in emptiness. In this recent collection of wiser years and distance from that former grief, Tenci carries an opposite feeling, a celebration of self-rejuvenation. A Swollen River, A Well Overflowing shows Shoman steering their inventive music further and wilder, spilling over with 12 fable-like songs. In a combination of milk, coins, glass, water, and light, each song forms a spell to “fill my heart back up,” Shoman says, “by reframing complex feelings by turning my head sideways and seeing them in a different way.”

LPC1 is on limited Ultra-Clear vinyl. A well is a stone-encircled place of depth, keeping an abundance of water for survival. “Well” is also a phrase for pause, for transition in language. Our tears can well up and bubble over. To define ourselves as “well” is the most basic term of goodness. What’s on the other side of the well? Inside the tunnel of change, or this life, we can either feel intimidated by the darkness of uncertainty, or excited by the possibility of nourishment. Songwriter, guitarist, and vocalist Jess Shoman wonders, “what the hell,” why don’t we go for the excess of love we deserve? Tenci’s album A Swollen River, A Well Overflowing becomes a gathering and collection of well-like vessels – cups, puddles, fists – to hold tight to this love and newfound joy. A Swollen River, A Well Overflowing is Tenci’s second album, coming after their 2020 debut My Heart Is An Open Field, which introduced Jess Shoman’s music explorations to the world. Shoman admits that their first album dealt with letting go of painful life experiences, resulting in emptiness. In this recent collection of wiser years and distance from that former grief, Tenci carries an opposite feeling, a celebration of self-rejuvenation. A Swollen River, A Well Overflowing shows Shoman steering their inventive music further and wilder, spilling over with 12 fable-like songs. In a combination of milk, coins, glass, water, and light, each song forms a spell to “fill my heart back up,” Shoman says, “by reframing complex feelings by turning my head sideways and seeing them in a different way.”

Clear Vinyl

New Nordic jazz duo Svaneborg Kardyb sign to Gondwana Records and announce NPR Tiny Desk session and captivating third album Over Tage

Svaneborg Kardyb are Nikolaj Svaneborg - Wurlitzer, Juno, piano and Jonas Kardyb - drums, percussion a multi award winning duo from Denmark, where they won two "grammys" at the Danish Music Awards Jazz 2019: New artist of the year and Composer of the year. ?Drawing on Danish folk music and Scandinavian jazz influences, including Nils Frahm, Esbjörn Svennson and Jan Johansson's landmark recording Jazz På Svenska, their music is an exquisite and joyful melding of beautiful melodies, delicate minimalism, catchy grooves, subtle electronica vibes, Nordic atmospheres and organic interplay, all underwritten by the sheer joy of playing together. "We started in the earliest of mornings over the blackest of coffee, sometimes even without talking, just music.

Immediately we felt a connection between our personal style of playing and the compositions emerged like out of nowhere. The vibe from these early sessions is still the backbone of our little band".

Svaneborg Kardyb hail from Aalborg, in Jutland, in the north of Denmark where they first met in 2013 and discussed the possibility of creating a duo over late night talks. Six years went by as they both explored other projects before they eventually realised the idea of making music together. Like their new label mates, Vega Trails, Svaneborg Kardyb are a duo, a format that gives them a lot of space to occupy - or leave blank. "We enjoy the simplicity and focus it gives to the interplay. We come from very different musical backgrounds; Nikolaj from Scandinavian jazz, and Jonas from Roots, blues and folk, so the music is a sum of our personal contributions and doesn't thrive to be anything else than that. It's quite unique for us to have this shared musical tongue and friendship".

Their music is intentionally simple at first glance, but evolves and unfolds through listening over time, with plenty of room for exploration, reflection and improvisation. Their aim is to create music that is as honest and intimate as possible "with melodies and rhythms so strong that we are left as only the messengers". And their fast-developing music chemistry allowed them to give little thought to what their musical influences were. Giving their music a captivating charm. "We explored whatever sounds and musical structures our duality gave birth to and through long jam-sessions we found small seeds of ideas that turned into tunes. Danish traditional songs, community singing and hymns are a big inspiration too. Both the tonal language, the lyrical melodies and the way generations can gather around the music, is something that is close to our hearts".

Over Tage (over roofs) is their third album, following Knob (2019) and Haven (2020) and marks their debut for Gondwana Records a label noted for working with artists such as Mammal Hands, Portico Quartet and GoGo Penguin whose music, like that of Svaneborg Kardyb delights in exploring the fertile spaces between genres. For the duo it is their most serious and thoughtful record to date. "It may be our strongest and most honest record so far. Doubts and uncertainty were kind of the foundation for the sounds of the album but there is also hope and lots of uplifting moments and we're very pleased with how it came out." And it is that mixture of elevation and thoughtfulness, honesty and intimacy that makes the music of Svaneborg Kardyb so special and Over Tage such a joy to listen to. The world awaits.

We would like to present Paloma's seventh release: Tom feat. Rose - Lose Yourself EP
Throughout club music history, the combination of vocals and groove remains a vital element. Countless anthems have prompted singing on the floor, and have raised arms in the air. There might have been times where vocals mattered less, but right now they are probably more needed than ever.
Tom & Rose are well aware of all that, and they were willing to place themselves and their music in a tradition of dancefloor euphoria, universal messages and also a bit of bittersweetness.
Tom is a DJ, producer and mix engineer, and also a booker and resident at Paloma. Rose is an Irish singer and producer. Together they created these tunes, a testament to better times gone and ahead."How Wrong" is the sound of heartbreak, albeit locked in a UKG tinged sureshot that swings back and forth with ease between jubilant piano bliss and monolithic bass weight, and it kicks like a mule. "Lose Yourself" is both an ageless acid slam and a joyful paean dedicated to all nights that should never end. There is a pumping dub too,
equally designed to be the soundtrack to blowing a nocturnal kiss to everyday sorrows.
Also included: complementary remixes by Eluize and Massimiliano Pagliara that come up with a different take, but a similar vision.
Enjoy the music, and stay safe!

6 face-melting gurners for the 21st Century’s, wilted and jilted generation.

Glasgow’s Lady Neptune follows her New Gorbals Gabber cassette E.P. with her debut vinyl release NOZ. Over the course of 23 bloody fisted minutes, Lady Neptune’s – aka Moema Meade - hyper destructed take on Gabber and Happy Hardcore breaks down the genre tropes before rebuilding them as a new pop music. If 2020’s New Gorbals Gabber showed an artist building their own language from fragments of different genres, 2022’s NOZ goes harder into the cyberpunk-ass future and takes no prisoners. Recorded and mixed at Glasgow’s legendary Green Door Studios and mastered by Rashad Becker, here Lady Neptune evolves into a monster.

With the classic weapons of Dutch Gabber – distorted 909 kick drums, bursts of noise and world-eating Rave-O- Matic hoovering synth riffs, Lady Neptune’s 6 tracks constantly threaten to careen off the speaker into the sweatiest, most gibbering, messy corners of the club. The two years since her debut has seen Meade destroying festival dancefloors, training for the full assault that is NOZ. Live performances have seen foam guns, tequila-pistols, neon stage dancers and a full, maxed-out orgy of fast-as-hell BPM, rave music burning up the cones. The experience reaps rewards from the outset on recorded form here. APOCOLYPS begins with monstrous vocals and the all-consuming kick, pulled back and taut for launch. The arsenal builds; warbling synths and high-pitched synth-strings before dropping into Bald Terror-sized hoovers and stuttering 4/4s. It quickly bleeds into MASTERER, with a looped, pitched up vocal intersecting with the synth riff. The aesthetics might be Happy Hardcore but the dynamic feels like a synthetic, evil Nu Metal-influenced Industrial music. Constantly evolving and twisting with its own natural drama, the drop at 2:15 is pure ecstatic release. fusing Meade’s inclination for pop hooks with the first out-and-out 180BPM (ish, who’s counting?) anthemic melter of the E.P., TELL ME has THE big catchy chorus, used sparingly and sung by Meade with angelic devilishness, coming at you in waves of XTC. It’s a repeater.

It’s then massive fists in the air for the ruthless Side B opener WIT. In the Welsh-Brazilian artist’s adopted home of Glasgow it translates directly as WHAT!? Itt makes sense. g. Sharp, weaponised, rhythmic punishment abounds before OH responds. Pitched up vocals and another mid-frequency synth hook wipes the slate clean. Like the best Gabber, the tension and release dynamic is used to full effect by Meade, with the thunderous low end kick -expertly tweaked in the mastering by Rashad Becker – slipping into the ghostly cavern. Industrialized 4/4 and noise-snares propel onwards to be utterly squashed by that bloody synth, stinging and horribly brilliant. Proving her genius for a ridiculous A-N-T-H-E-M, TIME 2 MAKE U FEEL GOOD closes the 23 minutes of ragged, drugged glory with a festival-slamming chorus built from the wreckage. It’s a song that does that thing we all know and love but can’t put our finger on. Sad, happy, tragedy, ecstasy, joy, horror...There’s big, minor chord changes (yes there’s some CHORDS on this slammer), the kick is submerged in layers of pads and Meade’s actual secret weapon: her vocal and knack for writing a chorus line. In the listener’s mind it’s over before it’s begun, a track destined for the big rewind.

NOZ is a breathless, E-number riddled eternal ecstasy.

On the isle of Crete, the ancient practice of dipping your bread in different sauces and dips is called "papara". True to its music-as-sauce philosophy, Brussels-based groove formation M.CHUZI invites you to dip your ear into the sonic sauces that are on offer in its versatile menu.

Released 4th November via Sdban Ultra, the collective's debut album 'Papara' is an inviting mouthful of afro rhythms, funk, and prog jazz, combined with the spacey soundscapes of the Brussels metropole, as they look to Fela Kuti's afrobeat style for inspiration.

Winner of the prestigious Sound TrackIB1 contest held at Ancienne Belgique back in December 2019, the octet has gone from strength to strength, including having album track 'Tzatzìki' feature on the critically acclaimed various artist's compilation 'Lefto presents Jazz Cats volume 2', released earlier this summer. The track was arguably the highlight of the album and received radio support from leading radio DJs including Gilles Peterson of BBC Radio 6 Music and Worldwide FM fame.

It's the tasty 'Tzatzìki' that launches 'Papara', an exotica-spawned, merry bombardment of fizzing percussion and a subsequent brass freakout. Next up is the heavy acid rock of 'Mammoet' featuring rising trombonist Nabou, which soon breaks out into a groove-laden mix of Egyptian-inspired horns and Fela-style rhythms, before poetic warrior Joy Slam, adds her vocals to the dub-centric rhythms of the sweet 'Carbonade'.

Elsewhere, 'Intermetsauce' fuses skittish horns with funky drums while the spicy 'Tahini Miso' bursts into life with trance-inducing beats and mystical, Middle-Eastern seasoning. The album closes with the multi-rhythms of the burning 'Sambal', before we dive-dip into the funky 'Pickles', featuring Mixmaster Menno's (STUFF.) wildstyle scratching skills. With each track named after a band member or featured artists' favourite sauce, M.CHUZI serves you a diverse and flavourful plate of unique compositions, taking afro-groove and its descendants to a new level of eclectic dynamism.

Limited edition on green vinyl.The collective's debut album 'Papara' is an inviting mouthful of afro rhythms, funk, and prog jazz, combined with the spacey soundscapes of the Brussels metropole, as they look to Fela Kuti's afrobeat style for inspiration.


On the isle of Crete, the ancient practice of dipping your bread in different sauces and dips is called "papara". True to its music-as-sauce philosophy, Brussels-based groove formation M.CHUZI invites you to dip your ear into the sonic sauces that are on offer in its versatile menu.

Released 4th November via Sdban Ultra, the collective's debut album 'Papara' is an inviting mouthful of afro rhythms, funk, and prog jazz, combined with the spacey soundscapes of the Brussels metropole, as they look to Fela Kuti's afrobeat style for inspiration.

Winner of the prestigious Sound Track contest held at Ancienne Belgique back in December 2019, the octet has gone from strength to strength, including having album track 'Tzatzìki' feature on the critically acclaimed various artist's compilation 'Lefto presents Jazz Cats volume 2', released earlier this summer. The track was arguably the highlight of the album and received radio support from leading radio DJs including Gilles Peterson of BBC Radio 6 Music and Worldwide FM fame.

It's the tasty 'Tzatzìki' that launches 'Papara', an exotica-spawned, merry bombardment of fizzing percussion and a subsequent brass freakout. Next up is the heavy acid rock of 'Mammoet' featuring rising trombonist Nabou, which soon breaks out into a groove-laden mix of Egyptian-inspired horns and Fela-style rhythms, before poetic warrior Joy Slam, adds her vocals to the dub-centric rhythms of the sweet 'Carbonade'.

Elsewhere, 'Intermetsauce' fuses skittish horns with funky drums while the spicy 'Tahini Miso' bursts into life with trance-inducing beats and mystical, Middle-Eastern seasoning. The album closes with the multi-rhythms of the burning 'Sambal', before we dive-dip into the funky 'Pickles', featuring Mixmaster Menno's (STUFF.) wildstyle scratching skills. With each track named after a band member or featured artists' favourite sauce, M.CHUZI serves you a diverse and flavourful plate of unique compositions, taking afro-groove and its descendants to a new level of eclectic dynamism.

A special artist split featuring Vessel label heads Norachi & Miris. A and B. Deep and deeper. Sunshine, rain, joy and pain.

"Palomino" ist das mit Spannung erwartete neue Album von First Aid Kit, dem von der Kritik gefeierten schwedischen Folk-Duo, bestehend aus den Singer-Songwriterinnen und Schwestern Johanna und Klara Soderberg. Der erste Track des Albums, "Angel", wurde bereits vor der Ankündigung des Albums veröffentlicht. "Palomino" ist ihr 5. Studioalbum, bestehend aus 11 Songs und vom Schweden Daniel Bengtson produziert. « Palomino » est le cinquième album du groupe suédois First Aid Kit. Écrit et enregistré dans leur pays d'origine, la Suède, « Palomino » a été créé pendant cette période sombre de pandémie mondiale, mais s'avère être l'album le plus pop de First Aid Kit à ce jour. Composé de 11 titres, il a été produit par Daniel Bengtson. «C'est le premier album que nous enregistrons en Suède depuis notre premier album « The Big Black & The Blue » il y a 12 ans ! Nous avons travaillé avec le producteur suédois Daniel Bengtson dans son charmant studio Rymden à Stockholm. C'était une expérience super amusante. Nous nous sommes vraiment laissé le temps d'enregistrer, nous ne voulions pas nous précipiter. Les morceaux ont été principalement écrits pendant la pandémie. Durant cette période compliquée, la musique était synonyme d'évasion, une bouffée d'air face à ce qu'il se passait dans le monde. Nous voulions que cet album soit plus optimiste et joyeux que notre album précédent, « Ruins », qui était un album de rupture. Ce nouveau projet est probablement notre album le plus pop à ce jour. Nous avons trouvé de l'inspiration partout - auprès de groupes tels que Fleetwood Mac, Carole King, Tom Petty, T Rex, Elton John, mais aussi Angel Olsen, Whitney et Big Thief.''

Endlec starts his label "Renegade Methodz" with one of his most powerful & personal EPs.

"Year Of The Kill" is a product of its time, having been written and produced during one of the most challenging and unique periods of the modern age, between March and April of the "lethal" 2020.
When the world was in a state of full lockdown, a moment in history that we, as a generation, forever will remember.

It's a pessimistic piece of work, that, across it's 3 trax, features, dark & melancholic melodies, sitting on top of heavy beatz, with Endlec's signature, dirty texture, and his unique brutal kinetics raising the energy, forcing you to take notice and dance until u release WHATEVER THE FUCK bothers u!
Scream from anger, scream from joy.
Cry from happiness, cry from sadness.
Raise your hands in the air and just let your self go.
Listen to the music, in whatever corner of the world u are, alone, with friends, with your lover or with whoever TF u care about and just feeeel.
BE IN the moment.
And dance, dance, DANCE U MTF!

So, at the end "Year Of The Kill" is a very personal work of art,
It is what it is, and if u like it that's great, if u don't, then fuck off
and try figure what's wrong with your ears!!

WE are who WE are, WE do whatever the fuck WE want,
WE ARE RENEGADES!
AND THOSE ARE OUR METHODZ.
credits

Hot on the heels of the sold-out limited ep Was It Ever Real?, The Soft Pink Truth releases a super catchy, sexy contemporary disco banger Is It Going To Get Any Deeper Than This?, Throughout the ten songs of the album, the provocation to go "deeper" prompts promiscuous moves across the genres of disco, minimalism, ambient, and jazz, sliding onto and off of the dancefloor, sweeping higher and lower on the scale of frequencies, engaging both philosophical texts re-set as pop lyrics and wordless glossolalia. Throughout, Is It Going To Get Any Deeper Than This? aims for a kind of psychedelic poolside take on disco, using the steady 120 bpm rhythmic chassis of the music as a launchpad for reverie rather than big room EDM bluster. Sidestepping retro kitsch but paying homage to highly personal interpretations of disco such as Arthur Russell, Don Ray, Dr. Buzzard"s Original Savannah Band, and Mandré, or the jazz-funk of Creed Taylor and CTI Records. Its emphasis on slowly morphing deep house grooves will also appeal to fans of DJ Sprinkles, Moodymann, and Theo Parrish. At once catchy and spacey, poppy and perverse, Is It Going To Get Any Deeper Than This? shows a restless musician trying to square the circle of dance music and meditation, repetition, and change.

Hot on the heels of the sold-out limited ep Was It Ever Real?, The Soft Pink Truth releases a super catchy, sexy contemporary disco banger Is It Going To Get Any Deeper Than This?, Throughout the ten songs of the album, the provocation to go "deeper" prompts promiscuous moves across the genres of disco, minimalism, ambient, and jazz, sliding onto and off of the dancefloor, sweeping higher and lower on the scale of frequencies, engaging both philosophical texts re-set as pop lyrics and wordless glossolalia. Throughout, Is It Going To Get Any Deeper Than This? aims for a kind of psychedelic poolside take on disco, using the steady 120 bpm rhythmic chassis of the music as a launchpad for reverie rather than big room EDM bluster. Sidestepping retro kitsch but paying homage to highly personal interpretations of disco such as Arthur Russell, Don Ray, Dr. Buzzard"s Original Savannah Band, and Mandré, or the jazz-funk of Creed Taylor and CTI Records. Its emphasis on slowly morphing deep house grooves will also appeal to fans of DJ Sprinkles, Moodymann, and Theo Parrish. At once catchy and spacey, poppy and perverse, Is It Going To Get Any Deeper Than This? shows a restless musician trying to square the circle of dance music and meditation, repetition, and change.

Drive at Night wurde 2021 von den beiden langjährigen Freunden und Bandkollegen Joachim Nordlund und Johan Lindstedt von Astral Doors und SunStrike gegründet. Da beide den melodischen Rock aus den 80er Jahren lieben, war es nicht schwer zu entscheiden, welche Richtung sie mit ihrer Musik einschlagen sollten. Im Jahr 2021 wurden 12 Songs in Joachims Studio in Borlänge, Schweden, geschrieben und aufgenommen und produziert. Drive At Night folgen der Tradition der großen skandinavischen Melodic Rock Bands und bieten tolle Melodien, riesige Keyboard-Sounds und Sing-a-Long-Refrains. Später im Jahr folgt die Vinylveröffentlichung.Für Fans von Treat, Europe, Madison oder Eclipse.

ONLY 400 PRESSED. NO RETURNS, ONLY ORDER TO DEMAND. With New Confusion they've usurped their own outré paradigms yet again, resulting in a demented heat-haze panorama of delirious beat-driven abandon and elucidated neural pathways. As ever the brainchild of Texan king of outlaw brinkmanship Craig Clouse, these nine abject and glorious meditations exist in an alternate dimension whereby a loop-driven exploratory framework is joyridden with alacrity offroad by a moonshine-swigging convict, a zone whereby aural scrap metal is alchemically transformed into gleaming, abstract and intimidating structures and sculptures anew. It may not have occurred to the average head that the sound of Tropicália melting gleefully in the sun (as here essayed on 'Miami') might be to their satisfaction, nor that the image of J Dilla trapped in a K-hole with Butthole Surfers would do anything but make them mildly anxious.