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Pauline Marx, formerly of the fantastic duo La Fureur de Vouivre, seems like a being from another time and place; namely, an escaped marauder lurking in the forests of a Bruegel painting and integrating the surreal flora and fauna of a Boschian creation into the scenery and lore of deep Brittany. Her invented mythology is loaded with murky rituals and contorted mantras, backed by the surprising sounds and textures of terrains so earthly and so unreal.

The Devil at the Crossroads

Where do you think you come from? Where do you think you're going? Lasciate ogni speranza, voi ch’entrate: you, with the noodle to the four winds, who pass the threshold of this disc, you better leave all hope there, and glide in the poisonous footstep of the devil your guide.

Where do you think you come from? The mountain is no longer just the mountain; after your passage, it will no longer even be a mountain. Like the whole landscape, it will have been eaten, sauced by invisible leeches. Your nostalgia for the ground and your thirst to find the source will have only discovered a forest of vain words and foul water. Where do you think you're going? At the crossroads, the world is consumed in the previous future. Only the devil will know how to make you overcome the disgust of traditions, and only the love for the devil will give you enough vim to reach your goal: a village, perhaps, but which belongs to no one, a haven to your excessiveness .

The dark tradition to which this game of ternary trampling belongs, like the rhythm of a heart in tune with the inverted world, has no country and no assigned time. Rather a topology of Eve awakened after a thousand-year sleep, an idiosyncratic and possessed reading of our common humus, made up of stories composted in the limbo of the past, of songs captured in extremis vitae and rebus in the privatized antechambers of death.

What does she tell us about? Of our automobile and in love roamings, of the porosity of the membranes that separate beings and things, of the constant inversion of signs. The seventeen stages of this short journey, where intertwine the throbbing of objects, blown horns and rubbed horsehair, form the map of a country never to be found, ours, where only the voice of an old child and the disgusting devil's poisonous charm can guide us.

A Notwist concert is a Notwist concert is a Notwist concert. The band around the core trio of Cico Beck and the Acher brothers Markus and Micha usually takes its studio recordings as a mere starting point for their live performances, considering them to be possibilities that need to be explored further. This is especially true for »Vertigo Days - Live from Alien Research Center,« a live record made under unusual circumstances. The band members rearranged songs from their ambitious 2021 album »Vertigo Days« in their studio in Weilheim to record and film a special performance. The songs took on a new life, becoming more psychedelic and intense when rearranged into a spontaneous, Krautrock-esque collage.

»Vertigo Days« was meant to transcend the conventional notion of a band as well as the creative and geographic boundaries inscribed into that concept. And even though life had other plans, this is precisely what the album did when it was released to both commercial success and critical acclaim in early 2021. Contributions by Tenniscoats singer Saya, Angel Bat Dawid, Ben LaMar Gay, Juana Molina, among others, as well as new member Theresa Loibl on bass clarinet, harmonium, and keyboard, expanded the band’s sonic palette, stylistic range, and even lyrical focus through the addition of different instruments, artistic approaches, and languages.

All of that was missing when the band retreated to their studio—dubbed Alien Research Center in response to, and in spite of, a nearby church called Christian Outreach Center—to further explore the possibilities of the source material. The band members considered this a challenge rather than an insurmountable problem and not only accepted, but fully embraced it. Trying to work as little as possible with the computers and samples—Saya’s voice on »Ship« being a notable exception—the band rearranged six tracks from »Vertigo Days« and a piece from the »One of Those Days« film soundtrack in order to allow themselves to improvise more freely, especially thanks to Loibl, who takes on a key role during these 45 minutes.

The intro sets the tone for what’s to come, contrasting loose jazz drumming with curious synthesizer rhythms in an abstract rendition of the first sounds that greeted the listeners on »Vertigo Days«. While the next four tracks—»Into Love / Stars«, »Exit Strategy To Myself«, »Where You Find Me« and »Ship«—follow the chronology of the album, they use the originals as a blank slate for further experimentation. The first track morphs into a feverish long-form jam that draws on the underlying groove to shift the dynamics from and leave behind the song structure of the studio version. It’s an exemplary piece in a recording that sees each individual musician leaving their mark on the overall sound, all while being perfectly attuned to what everyone else is doing around them. This continues up until the record’s triumphant finale, a whirring rendition of »Loose Ends.«

»Vertigo Days - Live from Alien Research Center« is at once a snapshot of a certain moment in the band’s history and the quintessential Notwist live record: a unique performance that both explores the untapped potential of the »Vertigo Days« studio recordings while also serving as an inspiration for upcoming live shows.

As with the studio album, the artwork for »Vertigo Days - Live from Alien Research Center« features photographs by Japanese artist Lieko Shiga, taken in the '00s.

RED APPLE MARBLE VINYL REPRESS.

Everything changed for The Beths when they released their debut album, Future Me Hates Me, in 2018. The indie rock band had long been nurtured within Auckland, New Zealand’s tight-knit music scene, working full-time during the day and playing music with friends after hours. Full of uptempo pop rock songs with bright, indelible hooks, the LP garnered them critical acclaim from outlets like Pitchfork and Rolling Stone, and they set out for their first string of shows overseas. They quit their jobs, said goodbye to their home town, and devoted themselves entirely to performing across North America and Europe. They found themselves playing to crowds of devoted fans and opening for acts like Pixies and Death Cab for Cutie. Almost instantly, The Beths turned from a passion project into a full-time career in music.

Songwriter and lead vocalist Elizabeth Stokes worked on what would become The Beths’ second LP, Jump Rope Gazers, in between these intense periods of touring. Like the group’s earlier music, the album tackles themes of anxiety and self-doubt with effervescent power pop choruses and rousing backup vocals, zeroing in on the communality and catharsis that can come from sharing stressful situations with some of your best friends. Stokes’s writing on Jump Rope Gazers grapples with the uneasy proposition of leaving everything and everyone you know behind on another continent, chasing your dreams while struggling to stay close with loved ones back home.

"If you're at a certain age, all your friends scatter to the four winds,” Stokes says. “We did the same thing. When you're home, you miss everybody, and when you're away, you miss everybody. We were just missing people all the time.”

With songs like the rambunctious “Dying To Believe” and the tender, shoegazey “Out of Sight,” The Beths reckon with the distance that life necessarily drives between people over time. People who love each other inevitably fail each other. “I’m sorry for the way that I can’t hold conversations/They’re such a fragile thing to try to support the weight of,” Stokes sings on “Dying to Believe.” The best way to repair that failure, in The Beths’ view, is with abundant and unconditional love, no matter how far it has to travel. On “Out of Sight,” she pledges devotion to a dearly missed friend: “If your world collapses/I’ll be down in the rubble/I’d build you another,” she sings.

“It was a rough year in general, and I found myself saying the words, 'wish you were here, wish I was there,’ over and over again,” she says of the time period in which the album was written. Touring far from home, The Beths committed themselves to taking care of each other as they were trying at the same time to take care of friends living thousands of miles away. They encouraged each other to communicate whenever things got hard, and to pay forward acts of kindness whenever they could. That care and attention shines through on Jump Rope Gazers, where the quartet sounds more locked in than ever. Their most emotive and heartfelt work to date, Jump Rope Gazers stares down all the hard parts of living in communion with other people, even at a distance, while celebrating the ferocious joy that makes it all worth it -- a sentiment we need now more than ever.

Ever dream you're in a spaceship on a never-ending journey to an unknowable destination? That's how Nyles Lannon often thought of life in the early part of the pandemic, when time seemed to stand still, before the vaccines or even knowing when there might be any. But whether that spaceship is a desolate prison or a vessel for escaping to a better world depends on how you use it. With literally nowhere to go, the Film School guitarist and his then-12-year-old son Skye, on drums and modular synths, would jam most evenings in Nyles's home studio, just to have something to focus their minds on and counter the tedium of "remote learning." What started out as a way to keep his talented kid busy became a means to process the anxiety and disorientation of that strange, scary stretch of time. The result is Vanishing, a ten-song album of moody melodies, new wave beats, droney rock, and even an electrogroove instrumental interlude, by the father-son project they named Nyte Skye.

The emotional toll of lockdown, our collective grief, the literal darkness that engulfed the sky thanks to devastating wildfires brought on by climate crisis—these are heavy subjects, but the songs also convey how we managed to keep each other sane, and inspired, through it all. Film School devotees will find plenty to love; so will fans of the Police (Stewart Copeland being one of Skye's major

influences), the Cure, Spiritualized, and Elliott Smith. The album's opener, "Dream State (I'm Vanishing)," is a wistful synth-driven indie gem about disappearing into an alternate universe where worries don't exist. "Doing Time," with its massive washes of 12-string guitar and sophisticated syncopated beat, is a shoegazey meditation on holding onto a child's sanguine outlook in the face of adversity. If dream pop track "Take Me Up Again" is the album's bounciest, its counterpoint is "Faded," whose bittersweet melody and gentle rhythm bely themes of physical and emotional frailty.

Ultimately, not only did working on Vanishing help the duo cope with a uniquely challenging situation, but just being stuck at home helped stoke their creativity. "Music was the only thing I did during the pandemic, besides online school," Skye says. "It gave us all this time we didn't have before to make the album." For Nyles—knowing they might never have that kind of time again—to be able to put out a record with his son is, simply, "a dream come true."

Vanishing was written, recorded, and produced by Nyles Lannon and Skye Lannon and mixed by Dan Long, with additional contributions from Zach Rogue (Rogue Wave), Nichole Kreglow (backup vocals), lyricist Neil Rodenmeyer (Lupa Rosa), and Ian McDonald (FUTRVST).

2023 Repress: Limited Transparent Yellow, 3-sided Vinyl, heavy wide-spine outer sleeve, printed inners! On Vertigo Days (Release: 2021), the first album in seven years for The Notwist, one of Germany"s most iconic independent groups are alive to the possibilities of the moment. Their music has long been open-minded and exploratory, but from its engrossing structure, through its combination of melancholy pop, clangorous electronics, hypnotic Krautrock and driftwork ballads, to its international musical guests, Vertigo Days is both a new step for The Notwist, and a reminder of just how singular they"ve always been. Most importantly, the core trio of Markus and Micha Acher and Cico Beck are reaching out: as Markus reflects, "we wanted to question the concept of a band by adding other voices and ideas, other languages, and also question or blur the idea of national identity."

PINK VINYL

Austin-based, shoegazers Blushing will see the release of their debut EP Tether for the first time on vinyl on February 10, 2023 through Kanine Records. The limited (700 copies) pink colored vinyl is packaged as a double EP. Paired with sophomore EP Weak on the b side, the vinyl features new double-sided cover artwork, where fans can choose which side's cover art to display and includes an mp3 download code. Blushing's first step out into the musical world showcases shimmering guitars chords and infectious choruses, which sent shivers through the deam-pop community upon its original release After receiving such a positive response from Tether, Blushing quickly got to work writing and recording a follow up EP. Weak, a bit of a misnomer, solidified the group's reputation for writing catchy hooks over dreamy, soaring and at times extremely heavy instrumentation, which resulted in the band finding their signature sound. This release follows up Blushing's 2022 full album release, Possessions, an album with charismatic vocals, dreamy guitar hooks, swirling bass lines, filled with dream pop intensity and produced by Elliott Frazier (Ringo Deathstarr). Lead single "Blame" featured Miki Berenyi (Lush) and Mark Gardener (Ride) lent a hand on mixing and mastering. Blushing features two husband and wife duos consisting of Michelle Soto (guitar, vocals), Jacob Soto (drums), Christina Carmona (vocals, bass), and Noe Carmona (guitar). Jacob and Noe have been lifelong friends that played in bands growing up in El Paso, TX. Blushing is a part of the modern dream pop and shoegaze community that has helped Blushing create an album that all indie music lovers need to hear. Fans of LUSH, Cocteau Twins, My Bloody Valentine, RIDE, Slowdive won't be able to resist.

White Vinyl Edition

Tricky"s first album on his brand new False Idols imprint, launched almost a decade ago in 2013. "I was lost for ages" he says, after a 3 year hiatus since his previous album.

The Rolling Stones legen die ultimative Live Best Of Sammlung vor: ”GRRR Live!”
2012 und 2013 feierten die Rolling Stones ihr goldenes Jubiläum mit der ”50 & Counting”-Tour durch Nordamerika und Europa. Bei dem Konzert am 15.12.2012 im Prudential Centre, New Jersey, begleitete ein unglaubliches Line-up von Gästen die Band auf der Bühne – Lady Gaga, The Black Keys, Bruce Springsteen, Gary Clark Jr, John Mayer & Mick Taylor. Das Konzert erwies sich als eine der bemerkenswertesten Shows in der Geschichte der Band. Nun wurde das Konzert neu bearbeitet und neu abgemischt.

No Wahala Sounds are proud to present this latest compilation of rare recordings of the early 1980s from the vaults of Audio Productions Limited, Nairobi, Kenya.

The bands featured are from Kenya (Kangundo 'D' Boys, Kyanganga Boys Band, The Lulus Band and Gem Lucky Jazz); Tanzania (Founders International Band and Orch. Bima Lee) and the Democratic Republic of Congo (Orch Moja One).

These songs were originally released on 7" single on the APL imprints of Nyalando, Sound of Music, Boxer, Mlima and Julus, all overseen by producer Babu Shah.

The early 1980s were the golden age of benga and rumba, and these tracks are being released for the first time outside of Kenya.

Our previous releases have been featured on BBC 6Music and BBC3's Late Junction, as well as being reviewed in Songlines and Mojo.

Pianist John Escreet, hailed by Time Out London as a "transatlantic jazz genius," continues his artistic ascent with the bold, exploratory album Seismic Shift. It is Escreet"s ninth album as a leader but his first at the helm of a trio, and also one of the first to see release since his move to the West Coast in early 2020. The UK native, former Brooklynite and now Los Angeles transplant teams up with fellow Angelenos Eric Revis (bass) and Damion Reid (drums) for a set brimming with fire and invention.

It seems fitting that a trilogy of albums celebrating nature should conclude some eight years after its second chapter. Manchester-via-Todmorden based instrumental trio Plank’s first two LPs – 2012’s kosmiche-inspired Animalism and 2014’s more expansive and structurally disruptive follow-up Hivemind – enjoyed relatively quick gestation periods. However, Plank are firm believers in letting nature run its course, and so it is that their third LP Future of the Sea arrives early in 2023. “I always knew I wanted to make three albums inspired by nature” says Plank main-man David Rowe (synths / guitar). “Future of the Sea is another exploration into odd time signatures and traditional rock instruments alongside synths and electronics.”

“Future of the Sea is a celebration of the power and majesty of our oceans and how humankind has been destroying them through industrial scale fishing and global warming” says Rowe. “Rachel Carson put it more eloquently in her book The Sea Around Us: ‘It is a curious situation that the sea, from which life first arose should now be threatened by the activities of one form of that life. But the sea, though changed in a sinister way, will continue to exist; the threat is rather to life itself.’” A post apocalyptic underwater city scape adorns the cover in an illustration by Jake Blanchard, whose work you'll also see on Richard Dawson's latest album 'The Ruby Cord'.
The synthetic nature of Plank’s sprawling rock odysseys feel at their most pronounced on Future of the Sea which leans to the band’s love of Pink Floyd era Meddle, Camel, film score composers like John Carpenter and Vangelis, 70s experimentalists Harmonia, 1980s King Crimson and 90s post-rock adjacent group Tortoise. In polyrhythmic dexterity if not heaviness, Plank also take some influence from Meshuggah, and it’s in their movement between the 16 minute final album track’s sections that it feels most prominent. They swerve from crunching stoner rock jams to more ambient spatial explorations, crescendoing progressive peaks, 80s synth pop and finally a crushing riff-laden finale.

Now coming out on vinyl BBE is pleased to announce the 12” release of The Lyman Woodard Organisation - 'Creative Musicians', featuring remixes by Waajeed and Henrik Schwarz. Originally released as a digital EP from the album 'Strata Records – The Sound of Detroit – Reimagined by Jazzanova', 'Creative Musicians' and its remixes now come to you on deep grooved vinyl. The vocalist for these sessions is Sean Haefeli, who originally hails from Indianapolis, and brings a relaxed urgency to his contributions, sounding like a young Gil Scott-Heron. Leveraging his 20 plus year friendship with legendary Detroit DJ/Producer extraordinaire, Waajeed, Amir enlists him for a special four-to-the-floor mix that not only keeps that organic vibe but also adds a unique contemporary Detroit flavour! Henrik Schwarz needs little introduction to fans of eclectic electronic sounds. For over thirty years, his amazing body of work has packed dancefloors worldwide. Henrik takes ‘Creative Musicians’ in a slightly different direction, retaining many of Jazzanova’s original elements while adding his signature sound to the mix, providing another dance floor scorcher! And just to give you proper context, we have included the cult-classic, much-loved original version of ‘Creative Musicians’ by the Lyman Woodard Organization. ‘Strata Records - The Sound of Detroit - Reimagined by Jazzanova’ is no ‘covers’ album, rather a brand-new celebration of the iconic imprint, as Jazzanova’s take on Lyman Woodard Organization’s musical manifesto ‘Creative Musicians’ makes clear from its Afrobeat-inspired horn arrangements, drum track, and syncopated tempo.

This land runs through Katherine Paul’s blood. And it called to her. In dreams she saw the river, her ancestors, and her home. When the land calls, you listen. And KP found herself far from her ancestral lands during a time of collective trauma, when the world was wounded and in need of healing. In 2020 she made the journey from Portland back to the Skagit River, back to the cedar
trees that stand tall and shrouded in fog, back to the tide flats and the mountains, back to Swinomish.

It is a powerful thing to return to our ancestral lands and often times the journey is not easy. Like the salmon through the currents, like the tide as it crawls to shore this is a story of return. It is the call and response. It is the outstretched arms of the people who came before, welcoming her home. The Land, The Water, The Sky is a celebration of lineage and strength. Even in its deepest moments of loneliness and grief, of frustration over a world wrought with colonial violence and pain, the songs remind us that if we slow down, if we listen to the waves and the wind through the trees, we will remember to breathe.

There is a throughline of story in every song, a remembrance of knowledge and teachings, a gratitude of wisdom passed down and carried. There is a reimagining of Sedna who was offered to the sea, and a beautiful rumination on sacrifice and humanity, and what it means to hold the stories that work to teach us something.

Chord progressions born out of moments of sadness and solitude transform into the islands that sit blue along the horizon. The Salish Sea curves along her homelands, and when the singer is close to this water she is reminded of her grandmother, how she looked out at these same islands, and she’s held by spirit and memory.

The Land, The Water, The Sky rises and falls, in darkness and in light, but even in its most melancholy moments it is never despairing. That is the beauty of returning home. When you stand on ancestral lands it is impossible to be alone. You feel the arms and hands that hold you up, unwilling to let you fall into sorrow or abandonment. In her songs Katherine Paul has channeled that feeling of being held. In every note she has written a love letter to indigenous strength and healing.

There is a joy present here, a fierce blissfulness that comes with walking the trails along the river, feeling the sand and th stones beneath her feet. It is the pride and the certainty that comes with knowing her ancestors walked along the same land, dipped their hands into the water, and ran their fingertips along the same bark of cedar trees.

This is a story of hope, as it details the joy of returning. Katherine Paul’s journey home wasn’t made alone, and the songs are crowded with loved ones and relatives, like a really good party. And as the songs walk us through the land it is important we hover over the images and the beauty, the moments that mark this album as site specific. The power of this land is woven throughout, telling the story of narrow waterways, brush strokes, salmon stinta, and above all healing.

Let it take you. Move through the story and see the land through her eyes, because it is a gift, a welcomed sʔabadəb.*

*The word “gift” in Lushootseed, the language of the Coast Salish people“

Tape

Originally born in days of a global lockdown, Johannes Albert gets ready for a second round of Ambient music. "Spessart II" follows the footprints of its predecessor and keeps things mostly quiet yet very thrilling at the same time. Starting off with "Frischling" the beat maker takes us on a calm synth trip through his home forest Spessart, using wild boar - Wildschwein - vocabulary all the way. Sparks of early Downbeat ("Gewaff"), even Trip Hop ("Überläufer") and instrumental Sade ("Leitbache") occur in the well balanced 8 track album. Johannes' dad Rudi adds to the vibe playing the Jagdhorn on "Keiler". If you like the band "The Art Of Noise" you will most likely love this too.

AMBER ARCADES ist das Pseudonym von Annelotte de Graaf, der niederländischen Singer/Songwriterin, die zwei EPs und einige von der Kritik gefeierte Alben aufgenommen hat, von denen das zweite, "European Heartbreak", durch "hints of Lindi Ortega and early Saint Etienne, breezy, dreamy pop more personal than political" (The Guardian) glänzt. AMBER ARCADES verlor kürzlich für einen Moment den Glauben an die Musik, gewann ihn dann aber wieder zurück und liefert nun ihr bisher atemberaubendstes Album ab: "Barefoot On Diamond Road", das am 10. Februar 2023 erscheinen wird - ihre erste Veröffentlichung auf Fire Records. Die erste Single "Just Like Me" ist ein offenkundig tanzbarer und triumphaler Song, der durch seine Stop/Start-Struktur eine beunruhigende und unvorhersehbare Schärfe in das Geschehen bringt. "There's a clear distinction from my last record ,European Heartbreak', which had a complete narrative. This record is completely the opposite" erklärt die Niederländerin in einem Statement zum neuen Album. Eingetaucht in eine alles verzehrende Wall of Sound ist "Barefoot On Diamond Road" wie MY BLOODY VALENTINE in akustischer Form; es sollte eigentlich nicht funktionieren, aber tut es trotzdem. Es ist eine Gegenüberstellung von Texturen, von sprunghaften, unruhigen Dancefloor-Beats bis hin zu symphonischer Kosmik, ein barocker Pop-Teppich, der mit Celli und Harfen bestückt ist, mit einer klagenden Steelguitar, die in der Ferne widerhallt. Die Schlagzeug- und Perkussions-Arrangements von Matt Chamberlain (PEARL JAM, BOWIE, DYLAN, ADELE, LORDE, SPRINGSTEEN, COHEN...) verleihen dem Ganzen zusätzliche Textur. Es ist ein Album von einnehmender Reife, gefüllt mit Zeitlupen und epischen Steigerungen, die es mit all der Dramatik in schwindelerregende Höhen heben - man denke an THE GUN CLUB, die sich mit PORTISHEAD zurücklehnen, alles könnte passieren, es ist ein imaginärer Film... und PJ HARVEY lauert im Schatten. AMBER ARCADES neues Album "Barefoot On Diamond Road" markiert eindeutig eine neue Phase im Schaffen der hochangesehenen Musikerin. "Wistful, glowing dream pop" The Guardian

"I begin our sixth album by exploring melodies that take me to the boundaries of my voice. I write myself into my highest highs and lowest lows. There is a precariousness in the outer limits of my range that demands vulnerability. As our demos take shape, I realize this will be our first album without any belting, the first time I can’t force my way through the notes," recalls Tennis' Alania Moore. "In the studio, Patrick compresses the shit out of my mic and I sing with the gentleness of breathing. In that softness, lyrics take shape. We want to write a big album—something suited for radio, but our songs don’t follow conventional pop structures. Instead of choruses with universal themes, I write with a specificity that is new to me, narrowing in on the smallest details of our lives. The more we try to broaden our scope, the more we turn inward." "We name the album Pollen. It is about small things with big consequences: a particle, a moment, a choice. It is me in a fragile state; sometimes inhabited freely, sometimes reacted against. It is striving to remain in a moment without slipping into dread. It is about the way I can be undone by a very small thing." Tennis is Alaina Moore and Patrick Riley. Pollen is their sixth album. The two met in the philosophy department at the University of Colorado in 2008 after dropping out of their respective music programs. In the years after graduating, they got involved in Denver’s DIY music scene. Through house shows, they were connected with Underwater Peoples and Firetalk. The band went blog-viral nearly overnight, landing them a record deal with Fat Possum and then Communion Records, but with shifting labels and new interests, Tennis chose an alternate path for their band and career. In 2016, Moore and Riley formed the label Mutually Detrimental and began self-releasing. Their newfound freedom allowed them to return to their sailboat to write their next full-length, this time in the Sea of Cortez. Yours Conditionally, released in 2017, became their most commercially successful album–charting at #4 on Billboard’s Independent list and in the top 100 highest selling vinyl releases that year. They played Coachella and opened for artists like The National, Father John Misty and The Shins–proving their DIY roots as a cornerstone to their sound and narrative. Their follow up Swimmer (2020), was recorded in their home studio with Moore and Riley producing and engineering. The pair brought their long-time touring member Steve Voss in for the second time to drum on record. The singles, Need Your Love and Runner, were Tennis’ most successful releases to date.

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.

Repress!

Just over a year after his last solo project on The North Quarter, FD returns to the label with ‘Pleasure Rooms’. For this four-track EP, the London-born producer once again shows off his bass line dexterity, along with his trademark grooved percussion and mood-building samples. Heavier, grime-reminiscent tracks ‘Shawn Kemp’ and ‘Mama Told Me’ featuring Bristol MC Hella are combined with a more melody-driven, colourful sound present on ‘Double Drizzle’ and ‘Sails’. Following the major success of his minimal, experimental project LIN000 with Satl, this EP further shows the wide-ranging progress FD has been making in recent years.

Named after the Tottenham venue where FD went to his first rave, ‘Pleasure Rooms’ pays homage to the place that spawned his love for Drum & Bass. FD: 
“Pleasure Rooms was an old rave venue in Tottenham. My main memory is seeing Brockie & Det in a small room, sweat dripping off the ceiling and columns with mirrors on, totally fogged up. And going fucking mental. Being totally immersed in the music and the vibe, super excited and just hyped.

My Pleasure Rooms EP was made with thoughts of these kind of raves and parties in mind as this is a vibe and sound I've been enjoying quite a lot again recently - and it was such an important time for my love of Drum & Bass.

Das neue Album „Twelve Carat Toothache” des Superstars Post Malone ist nun erhältlich!

Das vierte Studioalbum beinhaltet unter anderem Features von The Weeknd, Doja Cat, Roddy Ricch und The Kid LAROI!

Wie für das Multitalent üblich, definiert er durch s eine Musik Genre-Grenzen neu und zeigt auf, was für ein vielseitiger Künstler er ist.
Schon seine Debütsingle „White Iverson“ (2015) schaffte es mit Anhieb auf Platz 14 der Billboard 100 und wurde mit Vierfach-Platin ausgezeichnet. Doch dabei blieb es nicht - sein erstes Studioalbum „Stoney“ debütierte auf Platz 6 und wurde mit Fünffach-Platin ausgezeichnet, ebenso wie sein zweites Studioalbum „Beerbongs & Bentleys“. Das letzte Studioalbum des in Dallas aufgewachsenen Musikers, „Hollywood’s Bleeding“, peakte auf Platz 1 der US-Albumcharts, wurde mit Dreifachplatin ausgezeichnet und stellt mit
fast 80 Millionen Streams in nur 24 Stunden einen neuen Spotify-Rekord auf.

2022 heralded the arrival of his fourth full-length offering and the summer’s most-anticipated record, Twelve Carat Toothache, that arrived on CD June 3, 2022. It is his first full-length in three years since the triple-platinum Hollywood’s Bleeding crashed the Billboard Top 200 at #1.

LA veteran techno producer, AXKAN, lands his new full-length album on SONIC GROOVE. Inspired by a wave of torturous dreams during the pandemic, AXKAN dedicated his isolation time to curate the sound of this 12-track LP, NIGHTMARES. Dropping his signature soundtrack of angst fueled broken beat industrialized techno, AXKAN further displays his sophisticated sound architecture by delving into darker melancholic, experimental and rhythmic noise territories. Add three collaboration pieces featuring long-time friends ORPHX, UVB and AYARCANA and we have a well rounded album of monstrous proportions.

Das neue Album „Twelve Carat Toothache” des Superstars Post Malone ist nun erhältlich!
Das vierte Studioalbum beinhaltet unter anderem Features von The Weeknd, Doja Cat, Roddy Ricch und The Kid LAROI!
Wie für das Multitalent üblich, definiert er durch s eine Musik Genre-Grenzen neu und zeigt auf, was für ein vielseitiger Künstler er ist.
Schon seine Debütsingle „White Iverson“ (2015) schaffte es mit Anhieb auf Platz 14 der Billboard 100 und wurde mit Vierfach-Platin ausgezeichnet. Doch dabei blieb es nicht - sein erstes Studioalbum „Stoney“ debütierte auf Platz 6 und wurde mit Fünffach-Platin ausgezeichnet, ebenso wie sein zweites Studioalbum „Beerbongs & Bentleys“. Das letzte Studioalbum des in Dallas aufgewachsenen Musikers, „Hollywood’s Bleeding“, peakte auf Platz 1 der US-Albumcharts, wurde mit Dreifachplatin ausgezeichnet und stellt mit
fast 80 Millionen Streams in nur 24 Stunden einen neuen Spotify-Rekord auf.

2022 heralded the arrival of his fourth full-length offering and the summer’s most-anticipated record, Twelve Carat Toothache, that arrived on CD June 3, 2022. It is his first full-length in three years since the triple-platinum Hollywood’s Bleeding crashed the Billboard Top 200 at #1.

Tasteful double album with outstanding female singers. When it comes to vocal art alone, the jazz world is firmly in the hands of women. Just think of Billie Holiday, Ella Fitzgerald or Nina Simone. But singers of younger days, such as Sarah Vaughan or Diana Krall, are no less impressive with their enchanting voices. Reason enough for the French label Wagram to unite the most renowned female singers of the last decades on a double album.

New compilation featuring the greatest tracks from the Philadelphia International label Pressed on standard black vinyl.

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.

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.

For Fans of Aasha Puthli, Grace Jones, Minnie Ripperton, The Supremes, Love Apple, Liquid Liquid, ESG. Say She She's debut 45 features "Forget Me Not," an homage to New York City's Guerilla Girls and to all the women's rights and protest movements who have paved the way for change. Doused in the funkiest rhythm section and bursting at the seams with harmonies, the song is a psychedelic siren's call to disrupt and dismantle male dominated spaces. "Blow My Mind" is the fiery and seductive B-side. A song about returning to reignite the fire of a former flame you still carry the torch for - even after all these years. The impassioned and sultry cries "Mayday in my heyday, crying out for you to save me!" teeter between youthful yearning and blazing independence. Let the dreamscape bridges guide you to climactic hindi riffs, accented with operatic cries that will lift you yonder.

* Hypnotic and seductive, Emika crafts Earthy Melodic Techno track 'Breath Cuts' using her breathy vocals, kick and devilish sub bass.

* Pleasure and pain, the euphoria Emika knows how to create sonically in order for her to lose her mind through the music and escape reality, composed and produced during the darkest chapter in her life, she mixes in the inevitable pain of a once locked-down Berlin.

* Breath Cuts is a journey-style dance track, for song-lovers or DJs that like to tell stories on their dance-floors. Emika reveals a poem in the middle of the song, a dream about being free again; 'I like to look out the window.. I like to imagine the clouds..'

* Norman Nodge, Berghain resident by night and lawyer by day, pulls out and enhances the lush ethereal vocal elements, remixing them further into an angel-like chorus, one can imagine the dancefloor in Berghain - people rushing from the sound while spirits float above them looking down.

* The two producers decided to provide listeners and DJs with a functional kick-less mix for advanced mixing pleasure.

Eli Brown steps up to unveil his highly anticipated debut release on Drumcode.

The UK artist hailing from Bristol has long been on Adam Beyer’s radar. He made his debut on Drumcode’s sub label Truesoul in 2019, teaming up with Will Clarke for their standout EP, ‘Our Love’. Since then, Eli Brown’s sound has continued to evolve and develop, with his signature dark and subversive sonics exhibiting on labels such as on Filth On Acid, We Are The Brave and his Arcane imprint earning high praise in techno circles.

His maiden contribution to Drumcode is in the form of his high-octane four track EP ‘Deep Down’. The title track ‘Deep Down’ has been a go-to weapon for Adam Beyer who’s been slaying it at Awakenings, Ultra Europe x Resistance and Loveland. It’s a dynamic, vocal-led production driven by a squelchy psy-laced synth line. ‘Nazareth’ is a pumping acid-infused stomper that galvanised the masses at Tomorrowland. Brown draws inspiration from Detroit for ‘Can’t Stop The Feeling’, a track that delicately balances an exuberant soul vocal with a nostalgic rave vibe. The EP rounds out with the thrilling highlight, ‘Pressure’, as 90’s house chords and gritty synths combine with a luring vocal hook for an ecstatic conclusion to the EP. It went down a treat when Beyer played it at Drumcode’s Off Sonar party in June.

Recorded live on September 14, 1960.

The story of the new album begins when Las Robertas met producer Owen Morris (Oasis, The Verve, Ash, New Order) at a small, art gallery party in downtown San Jose. The result of this chance meeting is Love is the Answer, an album where the Welsh producer successfully highlights Las Robertas love of 90’s alt-rock greats like The Brian Jonestown Massacre, The Dandy Warhols, The Charlatans, LUSH, RIDE and The Breeders, while still sounding uniquely like Las Robertas.

Love is the Answer is a compilation of songs about love towards the universe, individual freedom and of hope in a time where the world seems ever closer to being consumed in chaos. It contains a pop edge while still combing shoegaze and psych rock influences.

"In the late 1960's, Decca was playing to its strengths – mass marketing classical and easy-listening recordings just as it had been doing since the late 1920's. In April of 1968, Decca entered into a venture that would see its repertoire prominently displayed by non-specialist retailers, and after much resistance, it moved into the world of budget releases, with the beginning of its much loved ‘The World Of’ series in 1968.

The first album set out the series’ stall perfectly, focusing on one of the label’s biggest-selling artists. Its whole raison d’être was to drive sales of the artist’s repertoire: inviting consumers to dip in here and discover more, while the rear sleeve clearly offered the catalogue numbers of the parent albums.

Later, the World Of ’s would also become treasure troves for rarities and one-offs.nitially, the series stayed in the ‘Easy’ territory and by the end of ’69, 54 titles were available. Unsurprisingly, given the label’s heritage, classical repertoire would also become a mainstay.

The first classical LP was one of the early issues:
The World of Johann Strauss. The series treated classical music much like pop: compiling the most popular pieces and presenting them across two sides.

• 180 GRAM HEAVYWEIGHT VINYL • CUT AT ABBEY ROAD STUDIOS
• NEWLY-COMPILED SELECTIONS FROM DECCA’S ILLUSTRIOUS CATALOGUE • Please note: The World of Nothern Soul - previous orders still stand.

SZNZ: Spring is the first of four in the SZNZ series of EPs by Weezer and is now available on Black and Glow In The Dark Vinyl. The EP was produced by Weezer’s frequent collaborators Jake Sinclair and Suzy Shinn, as well as new collaborator Ethan Gruska.

Each EP offers its own palette of colors, creatures, and emotions to explore. Created in real time, made in tandem with the season themselves, the EPs form an incredible collection of some of Weezer's best songs yet, which is no small feat for a band that never leaves the Zeitgeist.

Weezer is Brian Bell (backing vocals, guitar), Rivers Cuomo (vocals, guitar, piano), Scott Shriner (backing vocals, bass), and Pat Wilson (drums).

**Vinyl Only

Carmy Love brings a stylish hint of gospel to the beautiful vocal on this new single on Big A C. 'Rebel' was actually written many years ago yet the lyrics have huge repugnance today. The song has regularly been performed in that time with New Street Adventure but now the live version becomes all the more glorious as a full studio production. On the back is a tune inspired by the fertile soul crossover sounds of the late 60s and early 70s, with funky bass and body brass. These are tunes to warm your heart and uplift you as you leave the bad times behind.