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o encapsulate the themes. “Aseurai means around you in the atmosphere, hard to reach, fading away,” Choi says. “It’s a poetic expression. You wouldn’t say it in normal conversation, but I like that.”

Following the four-piece band’s 2024 self-titled EP, Aseurai adds disco and city-pop influences while staying true to dream-pop roots. While Phoebe Rings was originally a solo project of Choi’s, Aseurai marks a shift with contributing songwriting credits from the whole band. The four musicians cut their teeth working on other notable NZ projects such as Princess Chelsea, Fazerdaze, Tiny Ruins, AC Freazy,, Sea Views and Lucky Boy.

With a more ambitious collection of instruments, Choi says this album heralds the start of true collaboration: “I feel more precious about this LP because it includes everyone’s gems.” Guitar/synthesist Simeon Kavanagh-Vincent spearheads unexpected arrangements, with bold fuzzy guitar textures, to spice up the mix. Benjamin Locke adds maturity to the lyrics, paired with perfectionist bass lines. And drummer Alex Freer’s slick production soars Aseurai to diverse and synergetic heights. The broth is richer with more cooks in the kitchen, and the brewing of textures creates a distinct ‘Phoebe Rings’ sound.

If the EP was spacey, then Aseurai settles on earth, rooted in tangible moments. “Without getting too gloomy, it’s a weird world out there. A lot has changed in the world since the EP came out,” says Kavanagh-Vincent on this transformation. The album delves into hope and longing across all possibilities, and this exploration of holding on and letting go is organically threaded throughout. Across ten songs, Phoebe Ring’s storytelling ranges from tongue-in-cheek musings on gentrification to tender autobiographical memories.

아스라이 흩어지는 하늘의 별이 (May the falling light of faraway stars) / 그대의 손 끝에 닿아 숨이 돼주길 (Reach your fingertips and let you breathe),” Choi sings in the title track “Aseurai.” Imagined as a breezy track inspired by a 90’s Korean pop band, Choi discovered, when fleshing out the lyrics, that it was about yearning for people she couldn’t see anymore. In the old-school disco track, “Get Up,” Locke addresses struggles with mental health in a Matrix-inspired driven mantra:  ‘Just get up / Just get up.’ The groove persists with ‘Fading Star,” a quirky ballad filled with steely jazz/rock guitar solos dedicated to a suburban aging musician. Kavanagh-Vincent’s lead single ‘Drifting’ is an unrequited celestial love song with bouncing bass and playful synths.

The band wrote, produced, and engineered the album across studios and band members’ homes in 2023/2024 in Tāmaki Makaurau (Auckland). It features mixing/mix production by local legend Jeremy Toy (Bic Runga, Aaradnha, Princess Chelsea) and mastering by Kelly Hibbert. With Aseurai, Phoebe Rings mark out a brilliant new constellation in their sky, bringing their individual compositions to the fore whilst seamlessly threading them into one celestial body - launching skyward on Carpark Records in June 2025.

Ground-breaking afro-rock and jazz with Memphis soul roots on this lost 1972 gem. Lovingly restored and reissued by Matsuli Music


'Black Soul' from 1972 is the third and last known album by The Anchors, a soul group originally formed in Johannesburg's Alexandra township in 1968. Their first two albums, 'Soul Upstairs' from 1969 and 'Everything' from 1971, were issued on Teal's City Special label alongside other prominent South African soul groups of the era like The Beaters, The Movers and The Flaming Souls.

On 'Black Soul', The Anchors undergo a notable shift, moving away from their early Memphis soul influences towards a pioneering African-driven sound. These changes laid the foundations for an emerging afro-fusion scene in the years to come from groups like Batsumi, The Drive and Harari.

'Black Soul' features a who's who of intergenerational musicians from great South African bands over the decades. In addition to Zacks Nkosi, the renowned bandleader of the Jazz Maniacs and long-time member of the African Swingsters in the 1940s and 50s, this album includes kwela star Little Kid Lex Hendricks, known for his Columbia recordings of the late 1950s; as well as Zack's son Jabu Nkosi who would go on to play with The Drive, Roots and Sakhile; and Banza Kgasoane later a member of The Beaters, Harari and then Mango Groove.

Now remastered for its first release since the original 1972 pressing, this lost gem offers a revealing glimpse into the evolution of South African music during a transformative era.

Zacks Nkosi (Sax), Patrick Jabu Nkosi (Organ and Flute), Anderson Nkosi (Lead Guitar), Given Sabela (Bass Guitar), Kid Lex Hendrix (Sax), Banza Kgasoane (Trumpet), Peter Morake (Drums), Hamilton Nzimande (Musical Director).
Original LP issued in South Africa on GRC’s CBS label (LAB 4037) in 1972.
Produced for reissue by Chris Albertyn and Matt Temple at Matsuli Music, and Siemon Allen at Flatinternational.
Original vinyl sourced from the Flatinternational Archive.
Artwork restoration and design by Siemon Allen.
Audio restoration, mastering and lacquers by Frank Merritt at The Carvery.
Manufactured at Pallas, Germany.

OPAQUE YELLOW VINYL. 'Lawn Mower Man' is the second studio album from Swollen Members'
Madchild, and would hit #2 on the Canadian Albums Chart and #150 on the US Billboard 200. The record
features guests including Sophia Danai, Bishop Lamont, JD Era, Prevail and Slaine. To commemorate 10+
years since its release, Suburban Noize is proudly presents a limited colorway exclusively for RSD 2024.

Raúl Monsalve y Los Forajidos welcome listeners to a new day with SOL, their groundbreaking second album for Olindo Records. Venezuelan rhythms and traditional songs blend with spiritual jazz, psychedelic funk, and Afrobeat, delivering an exhilarating, boundary-pushing experience.
Led by Venezuelan bassist Raúl Monsalve, the group gained international acclaim with Bichos (2020), praised for its Afrobeat influences from legends like Fela Kuti and Orlando Julius, alongside Afro-Venezuelan rhythms. Featuring Luzmira Zerpa (Family Atlantica) and Betsayda Machado, the album earned praise from The Wire, Songlines, Gilles Peterson, and others, with airplay on BBC 6 Music, NTS, and Worldwide FM. This success brought performances at Super Sonic Jazz Festival and Shambala Festival.
SOL marks a leap forward for Los Forajidos, evolving from a studio project into a cohesive ensemble. Monsalve, now contributing bass, vocals, and percussion, is joined by vocalist Lya Bonilla, keyboardist Edgar Bonilla, flautist/guitarist Nando Guerrero, saxophonist Andrés Vela, drummer Mario Orsinet, and percussionist Yves Prud’homme.
The album features contributions from producer Nick Woodmansey (Emanative), singer Carlos Talez, mixing by Malcolm Catto (The Heliocentrics), percussionist Gustavo Ovalles, and Congolese guitarist Kiala Nzavotunga.
Drawing from Venezuelan traditions while embracing modern influences like George Clinton, Herbie Hancock’s Mwandishi, Jeff Parker, and Nyege Nyege Tapes, SOL bridges cultural heritage and forward-thinking artistry.

To celebrate the 30th anniversary of bob sinclar"s iconic label, Yellow Productions, step into the catchy world of the french touch with an exceptional and limited boxset with 3 LP vinyl records plus a poster. Discover hits, unreleased nuggets and rare tracks ranging from house to trip-hop, jazz and hip-hop. Discover some of the biggest names on the electronic music scene : Like Dimitri From Paris, Dj Gregory, Kid Loco, Martin Solveig and David Guetta!

2024 Re-Edition

Strangelove's personal Inventory of NZ 1980's odd pop; 'Kiwi Animals' recasts the local charts in a parallel universe of misfit melodics, gonzo-tronics & strange waves. Channelling South Pacific voodoo and edge of world melancholia, the album highlights electronic tangents from iconic NZ groups Blam Blam Blam & Headless Chickens. It dredges the cassette revelations of art avante-gardists' Drone & Kim Blackburn, alongside bittersweet moments from Rupert & Norma O'Malley. There's the infectious minimal wave of Ballare and a reprised electro-boogie dance suite (?!) from Tom Ludvigson & Graeme Gash. The furthest depths of Flying Nun's catalog are also plundered- a brilliant earworm from Stiff Herbert and a mysterious "Roger" Knox birthday promo. Mining disparate seams of a local indie label awakening, the various tangents of 'Kiwi Animals' congeal with a future/primitive sensibility and an underlying Antipodean mischievousness…

The debut recording from the duo of multi-award-winning Scottish author David Keenan and Bruce Russell, the guitarist from the greatest underground rock band of the late 20th century, New Zealand’s The Dead C, was recorded live in Christchurch, NZ, as part of the WORD festival in August 2023. A series of live improvised settings that pair readings from Keenan’s monolithic and critically-acclaimed modernist masterpiece, Monument Maker (White Rabbit 2021), with guitar and electronics from Russell, the music takes off on the kind of post-VU fantasy of punk-primitive free music posited by Russell in projects like A Handful of Dust while expanding on Russell’s no-technique blues w/scalpel sharp riffs and aformal blats of pure electricity that match the religious eroto-mania of the text. Keenan reads w/shamanistic intensity and with a sonorous, incantatory rhythm, while Russell conjures the very ghost of the book straight out of the air. Think the early Patti Smith/Lenny Kaye spoken word/guitar jams informed by religious painting, Bach cantatas, Pierre Reverdy, Goya, Charles Olson, Arthur Doyle and Rudolph Grey. Features full colour photography by musician and artist Heather Leigh taken in-situ during the writing of Monument Maker in France in 2018. Bruce Russell is a practitioner in sound, who for forty years has been a member of The Dead C and A Handful of Dust. He mixes rock, electro-acoustics, noise and improvisation in equal measures. Also directed two of New Zealand’s vanguard independent labels, Xpressway and Corpus Hermeticum. His solo guitar practice reconfigures the blues as a form of improvisational auto-destruction. He is also a writer and his next book is titled ‘Rock’n’roll: my part in its downfall’. David Keenan is the author of six novels; This is Memorial Device (Faber & Faber) which won the London Magazine Prize for Debut Fiction and was shortlisted for the Gordon Burn Prize; For the Good Times (Faber & Faber), which won the Gordon Burn Prize and was shortlisted for the Encore Award for Second Novels; Xstabeth (White Rabbit), which was shortlisted for the Dublin Literary Prize; The Towers The Fields The Transmitters (White Rabbit); Monument Maker (White Rabbit), which was a Rough Trade Book of the Year; and Industry of Magic & Light (White Rabbit). Edna O’Brien has said of him “I sometimes think David Keenan dreams aloud. His prose has the effortless, enigmatic, unsettling quality of dreams… reading him feels like being cut open to the accompanying sound of ecstatic music.”

Noisy Hardcore & Speedcore remixes from Aube-Joie tunes, coming from dirty oldschool to Speedcore brittan young heads !

another BIG banger !

- Am 10.05 legt Gunna sein neues, fünftes Album „One of Wun“ vor.- Auf den Albumrelease folgt eine umfangreiche Tour. Zwischen Mai und Juni tourt Gunna durch die USA. Im Juli kommt er nach Europa.- Am 03.05 releaste Gunna zuletzt die Single „Whatsapp (Wassam)“, die bis dato auf 3,5 Mio globale Streams und eine halbe Mio YouTube-Views kommt. „Whatsapp (Wassam)“ wurde in sechs Apple Music Playlists aufgenommen: u.a. zierte er das Cover der „It’s Lit“ Playlist.- Zuvor erschien Mitte März die Singleauskopplung „Prada dem“ ft. Offset. Die Single belegte #7 in NZ, #54 der US Billboard Hot 100 und #60 in CA. Seit Release kommt die Single zudem auf über 60 Mio globale Streams und 7,3 Mio Videoaufrufe. Im deutschen Radio wurde „Prada Dem“ u.a. von MDR Sputnik, rbb Fritz und SWR DASDING in die Rotation aufgenommen.- Am 16.02 feierte Gunna mit dem Release der Leadsingle „Bittersweet“ den Auftakt zur neuen Albumkampagne. „Bittersweet“ stieg in die Top 40 in NZ und den US Hot R’n’B Charts ein sowie auf #82 der US Billboard Hot 100. Außerdem kommt die Single auf 32 Mio globale Streams und 5,5 Mio Klicks bei YouTube.- Erst im Juni letzten Jahres releaste Gunna sein viertes Studioalbum „A Gift & a Curse“, das folgende Chartplatzierungen erreichte: #3 US, #4 CA, #7 CH, #9 UK, #18 AT, #36 DE. Insgesamt vereint „a Gift & a Curse“ 1,9 Mrd Gesamtstreams hinter sich.- Im November letzten Jahres trat Gunna im Rahmen der „50 Years of Hip Hop“ Show im kalifornischen YouTube Theater auf. Weitere Acts waren Latto, 2 Chainz, Big Daddy Kane, Queen Latifah und Glorilla.

DDS presents the debut EP from unknown entity NZO, whomever she may be, dancing in the gaps between amapiano, Afrobeats, broken beat and R&B with a rare guile and flavour.

The 4th in the DDS 12” series, NZO helps stake the label’s 15th year of operations with a typically Janus-faced approach to classic >< contemporary club ruffage. Tune to tune, she decimates and distills familiar tropes in singular, whirring syncopations designed to prompt bodies to move in fresh new ways. It’s all primed for proper animist magick, bound to snag rhythm fiends with its shape-cutting manoeuvres.

Working deep in the hardcore ’nuum’s 30 odd year tradition of concrète sampler chicanery, the four tracks find fractured vocals and echoes of club classics revitalised and reset with advanced drum ingenuity. 160BPM opener ‘Concentrate’ appears like Hessle Audio’s Joe stripped for parts, whilst ‘Mallet’ swivels like SND remodelling Afrobeats’ palette of tuned percussions, next to what could almost be a lost Various Production edit in the sublime tension of syrupy R&B and frothing drums on ‘Come Alive’.

The EP ends with its standout, ‘Body & Soul’, an undulating ama simmer punctuated by dub chords like some lost Basic Channel production re-cast for the lovers.

From 2006-2010 Shane Bunting aka Madchild was on a kamikaze run with the drug oxycontin that
pushed him to the brink of oblivion. Hitting rock bottom, his addiction spiraled out of control and
destroyed everything the successful emcee had worked so hard to build with is platinum selling hip-hop
group Swollen Members

Renowned New Zealand musician Nathan Haines announces his eleventh studio album and first solo album since 2014. Nathan’s vibrant career has solidified his status as a leading figure in contemporary jazz and electronic music, and throughout his career he has distinguished himself as a masterful saxophonist, flautist, and composer, celebrated for his innovative fusion of jazz with elements of soul, funk, and dance music. Notes maintains the jazz sound he is famed for, whilst also seeing the artist embrace the electronic/house and disco scene.

A labour of love, work on the album started several years ago alongside the now deceased UK producer Phil Asher who had produced Nathan’s two most successful albums Sound Travels and Squire For Hire. Regarded as one of the finest DJ’s and producers to emerge from the UK, playing a pivotal role in bridging the gap between 4/4 and broken beat, this was the first time Nathan and Phil had worked together in over eighteen years. Phil passed away during the recording of the album, but he appears on a number of tracks, and his spirit and influence can be felt throughout the entire release.

The album features a number of guest vocalists, including UK soul-diva Vanessa Freeman (Bugz In The Attic, 4 Hero, Kaidi Tatham, Kyoto Jazz Massive), and exciting young talent Ajuna Oakes, Ruby Cesan, La Coco and EO (NZ). Alongside Nathan’s own musicianship, the album also features bass from Razor-N-Tape label founder Jkriv and electronic jazz pioneer Mark de Clive-Lowe, with both bringing a wealth of collaboration and musicality to the project. Long time collaborator and much respected UK based producer Marc Mac (one half the highly influential and respected duo 4Hero) provides beats for a number alongside Nathan’s father Kevin on acoustic bass.

Highly respected DJ and producer Frank Booker (Razor and Tape) drops his signature beats on three tracks which fits nicely alongside Asher’s drum work. The album’s one cover see’s Nathan teaming up with vocalist Rachel Clarke on their version of Storm by US 80’s vocal group Rare Silk - this track is entirely acoustic and is one of the album’s special moments both artistically and musically.

The past years have seen Haines continuing to establish himself as one of NZ's best DJs and live performers, working on releases and remixes with the likes of Chaos in the CBD, Frank Booker, JKriv, Ray Mang and many others. He has also just released a solo album on Goldie's Metalheadz label under his Sci-clone alias co-produced with DJ A-Sides to excellent reviews and featuring a wealth of talent and musicianship.

NZM features the incredible vocals/keyboardist Nick Marino. NZM is high energy Power Metal band
with strong melodic vocal lines and edgy riffs. NZM is based in South Florida and was formed in 2010.
Artists such as Yngwie Malmsteen, Symphony X, Deep Purple, AC/DC, Dio, Iron Maiden, Queen and
Scorpions had a strong influence on NZM's music.

For its second release, following SALO"s feverish self-titled debut album, Berlin-based platform Kuboraum substantiates its musical perspective, bringing together an eccentric set of tracks from friends and family. Each artist was invited personally by the platform to write a piece of music inspired by Kuboraum"s philosophical and aesthetic principles. This Kuboraum Editions compilation that features tracks from Space Afrika, LABOUR, Moin, V/Z, o-Ziq, Lucy Railton, Alessandro Adriani and many more.

'Blue Room' is the debut album from San Diego-based pop punk band Unwritten Law, originally released
in 1994. It was the band's first full-length album that would help establish their presence in the prolific
San Diego music scene of the early 1990s. 30 years later, Suburban Noize Records is releasing it on vinyl.

Melbourne pop eccentric Gregor releases his fourth album Satanic Lullabies, his deepest and darkest record yet. In the years since his first album, 2016's Thoughts & Faults, Gregor's music has got progressively odder, more challenging and more rewarding. The spacious, acerbic pop of Silver Drop (2018), featuring touching single A Song About Holding Hands, was followed by the lovesick Destiny (2020), which put Gregor's inquisitive pop through a warped filter. Now Satanic Lullabies has polar extremes of wide-eyed innocence and deep despair. There are moments of great musical beauty that segue into harsh, bleak soundscapes. "I'm seeking to draw attention to the similarities between heaven and hell," says Gregor, "and to comfort anyone who recognises these." Satanic Lullabies is a modern epic, a bedroom odyssey, like if pre-MAGA Kanye made a Disney soundtrack. Gregor's live show ranges from solo mode up to a ten piece band, and he has played festivals such as Golden Plains, Dark Mofo, Inner Varnika, Boogie and The Others Way (NZ). He was nominated for Best Album and Best Solo Artist in the 2019 Music Victoria Awards, and Best Pop Act in 2021.

The making of Congo Funk!, our long-awaited journey to the musical heart of the African continent, took the Analog Africa Team on two journeys to Kinshasa and one to Brazzaville. Selected meticulously from around 2000 songs and boiled down to 14, this compilation aims to showcase the many facets of the funky, hypnotic and schizophrenic tunes emanating from the two Congolese capitals nestled on the banks of the Congo River.

On its south shore, the city of Kinshasa – capital of Democratic Republic of the Congo, the country formerly known as Zaïre – is often seen as Africa’s musical Mecca, the city that spawned such immortal bands as African Jazz, O.K. Jazz and African Fiesta, and the place to which aspiring musicians from throughout the continent would go to make a name for themselves.

But the city of Brazzaville on the north shore of the river – capital of the Congo Republic – played an equally important role in spreading Congolese sounds continentally. In addition to producing legendary bands such as Les Bantous de la Capital, it was the powerful transmitters of Radio Brazzaville that allowed the unmistakable groove of Congolese Rumba to be heard as far away as Nairobi, Yaoundé, Luanda and Lusaka thus turning the electric guitar into the continent’s most important instrument!

Although the musical landscape of these cities had been defined by a core group of bands in the late 1950s, the modernisation of Congolese music has been steadily evolving until the events surrounding the Muhammad Ali vs George Foreman boxing match marked a turning point. The promoter of that event known as “Rumble In The Jungle” was none other than the notorious Don King who needed 10 millions dollars to get Ali and Foreman into a boxing ring. The only candidate willing to put this kind of cash on the table was Mobutu Sese Seko, President of the Democratic Republic of the Congo.

Mobutu - the megalomaniac dictator who got to power with the support of the United States and Belgium in exchange for unlimited and affordable access to the riches of the country - had a soft spot for music and it doesn’t come as a surprise that he agreed to a three-day live music festival being organised prior to the “Rumble”. Zaïre 74 - as the festival was dubbed - was meant to hype the boxing match and many stars were invited.

Although a myriads of artists flocked in for the occasion, it was the performance of James Brown on Zairian soil that caused havoc among the younger generation, inspiring hundreds of would-be musicians to take up their electric guitars and reverbs cranked to the max in search of a new sound in which hyperactive Rumba was blended with elements of psych and funk. While the results were very different from the popular music of the three Musketeers - as Tabu Ley, Franco and Verckys were known - they weren’t a complete break with tradition.

These new sounds emerged at a time when the Congolese record industry – previously dominated by European major labels – was experiencing a period of decline due to rising production costs and needed a radical change. The void was filled by dozens of entrepreneurs willing to take chances on smaller scale releases. It was the beginning of a golden age for Congolese independent record labels, and the best of them – Cover N°1, Mondenge, Editions Moninga, Super Contact – preserved the work of some of the region’s finest artists, while launching a generation of younger musicians into the spotlight.

The movement was greatly helped by legendary radio shows but it was the dynamic productions of Télé-Zaïre that set the dynamite on fire. Legend has it that TV shows were so huge that president Mobutu himself ordered RTV du Zaïre to put on daily concerts since it halted criminal activities for the duration of the evening.

Congo Funk! is the story of these sounds and labels, but most of all it is the story of two cities, separated by water but united by an indestructible groove. The fourteen songs on this double LP showcase the many facets of the Congolese capitals, and highlight the bands and artists, famous and obscure, who pushed Rumba to new heights and ultimately influenced the musical landscape of the entire continent and beyond.

The Trip is the first solo album by N'Zeng, better known as Sébastien Blanchon. It has to be said that he hid behind his (hollow) nose to sniff out the right projects (ex Le Peuple de l'Herbe, member of Entourloop). His nose is hollow, but not for the trumpet, and yet it's with this instrument that he started out. And he reinvents it, giving it a subtle place on this musical road trip we call The Trip.
A journey open to all, with no tolls and no filters, apart from the cinematic filter of this lover of original soundtracks and trip hop. Beautiful images flash before our eyes, and in our ears, the smooth voice of Charlotte Savary (Wax Tailor). An album, a very good trip for lovers of Portishead, Gorillaz, and well-felt scratches in the form of controlled skids.
He's making a name for himself as N'Zeng, with his smooth arrangements.

N'Zeng's father played trumpet with his grandfather in the Feurs brass band in the Loire department. When he arrived in Saint Etienne, young Sébastien started out with a cornet à pistons at the Conservatoire. His teacher at the time, Marcel Heyte, had won a prize in Paris at the same time as a certain Maurice André.

His father took lessons in orchestral conducting, accompanying the offspring's budding musical career, which included a course at the Festival de Cuivre in Monastier-sur-Gazeille, where he met the soloists of the Radio France orchestra. A new awareness, a new confidence: off to Lyon, not for a soccer derby, but to "beef up his game". In 1997, he was awarded a gold medal for trumpet by a unanimous jury at the Conservatoire National de Lyon.

Lyon, capital of the Gauls, was the starting point for N'Zeng, who went on to become a member of the group Le Peuple de l'Herbe. 15 years later, with several successful records to his credit, a concert in 2003 at the Transmusicales with Beth Gibbons (Portishead), and a Victoire de la Musique award, it was time for N'Zeng to move on to other things.

Arrival in the City of Light, the place where dreams come true. Nzeng's dreams are not only sonic, but also visual, for Sébastien is not only a friendly presence and a talented musician, but also a cinephile. His knowledge of music theory, acquired during his years at the conservatory, enables him to tackle music for pictures.

He created a soundtrack for the cult film Alien - The 8th Passenger, and worked with musician Rone (collaborating with Baxter Dury) and his bandmates from Le Peuple de l'Herbe, composing 2 tracks for the soundtrack of Virginie Despentes's hard-hitting film "Baise-moi". On the album "Hollywood Hustlers", with the group "Mustang Force", he pays tribute to the soundtracks of Lalo Shiffrin, Ennio Morricone... The album is also well received by the critics. He conducts the arrangements and orchestrations for the Degiheuga Orchestra, and composes the original music for the Hôtel Bellevue dance show, another success!

2019 sees the birth of "The Trip" project. On this record, no masks, but a female voice, that of Charlotte Savary (Wax Taylor), laid on a carpet of strings. With this musical voyage, trip hop takes pride of place, with a balance between the body of the instruments and the mechanics of beatmaking.

There's no getting off track on this well-balanced record, with its silky orchestrations. N'Zeng accompanies us elegantly, with his trusty trumpet as GPS, here used subtly. The album cover is a photograph taken by Sébastien Blanchon's mother, in 1973, a year when Saint Etienne was about to become French champion for the 7th time.

"Smart Ass Black Boy: Redux" ist die zum 10-jährigen Jubiläum neu abgemischte und neu gemasterte Ausgabe des zweiten Studioalbums des Houstoner Rappers Fat Tony und des ersten Albums für Young One Records (einem frühen Partisan-Imprint).

"Smart Ass Black Boy" war eine der am meisten gefeierten Hip-Hop-Platten des Jahres 2013 und wurde schließlich zu einer der beliebtesten Houstoner Rap-Platten der 2010er Jahre. Das Album landete auf den Jahresendlisten von Complex und VICE, während Noisey und Pitchfork die Videos zu "BKNY" bzw. "Hood Party" uraufführten. Es wurde in der First Listen-Serie von NPR vorgestellt, wo es als "refreshing" und "promising" beschrieben wurde, während Pitchfork sagte das Album "absolutely knocks". Robert Christgau gab der Platte eine A-Bewertung ("homespun and imaginative"), und Rolling Stone nannte sie einen "thoroughly enjoyable batch of smart-ass raps". Fat Tony hat seitdem Platten mit Don Giovanni und Carpark veröffentlicht, zuletzt in diesem Jahr "I Will Make a Baby in this Damn Economy".

Das Album enthält einen noch nie zuvor veröffentlichten "BKNY (Remix)" mit neuen Versen von Mr. Muthafuckin' eXquire, Melo-X und GLDNEYE.












[l] B6. BKNY [Remix] (feat. Mr. Muthafuckin' eXquire, Melo-X, and GLDNEYE) (Redux)

Drawing inspiration from his homeland Germany, with a particular focus on the organic house and techno scene of Berlin, Sanoi has meticulously crafted Echoes Of Home to reflect his diverse influences.

Echoes Of Home finds Sanoi challenging conventional music production norms, steering clear of familiar tropes and techniques. The result is eight carefully curated tracks with a rich tapestry of ambient layers, recorded sounds, and melodies that range from quirky and playful to nostalgic and melancholic. The finely crafted drums take centre stage, emphasising the unique groove that defines Sanoi's distinctive sound.

The album traverses warm, bouncy & melodic house music, with touches of deep-house, techno & organica. While largely instrumental, the album’s centrepiece is a collaboration with Christchurch artist Beacon Bloom on the track ‘Silver’. Both artists previously collaborated on the popular single ‘Club Jesus’, once again featuring Ryan Ferris' delicate yet strong vocals. The final track on the album, ‘Moon Boy’ offers a few moments of quiet as the journey draws to an end with just Sanoi & his piano.

Created at his home in Auckland, and road-tested across multiple live performances across NZ & Australia over the past two years, Echoes Of Home sees Sanoi’s composition & production step up another level. Available on limited edition vinyl, the digital release also includes an eclectic collection of four remixes from acclaimed New Zealand artists micronism & Paige Julia, alongside German producers Gabriel Ananda & Fabian Krooss.

Over the past five years, Sanoi has become an integral part of the growing underground house and techno scene in New Zealand, all the while expanding his international presence with releases on labels Bar 25, Stil Vor Talent, Magician On Duty, and Zehn Records. Sanoi's music has already gained support from student radio stations in New Zealand and has caught the attention of tastemaker DJs worldwide

2023 repress on Translucent Purple double vinyl! A Brand You Can Trust is the classic 2009 debut album from hip-hop supergroup La Coka Nostra feturing House of Pain's Everlast alongside Danny Boy & DJ Lethal with Ill Bill (Non Phixion), and Slaine (Special Teamz). Additional contributions come from such hip hop elite as Snoop Dogg, Cypress Hill, Immortal Technique, Bun B and The Alchemist. A breath of fresh air in the days of contrived airbrushed rap music, Ill Bill explained that, "This record is a no holds barred burst of hardcore hip-hop to the fullest, representing everything we love about this art form but feel is missing from the game right now." "This shit bangs," Slaine added. "We set out to make a boom bap hip-hop record and we did that, but to stop there would be selling it short, because lyrically, musically, and sonically this album doesn't fit in a box." Though similar stylistically to the group's prior 2009 online releases, the debut album features songs grounded more in reality. Subjects touched upon include politics, death, drug addiction, raising a child and terrorism. AllMusic gave four out of five stars. Andrew Kameka of HipHopDX wrote that "the album is a mostly solid effort and exactly what someone would expect from a supergroup of like-minded members known for high-energy music". Adam Kennedy of the BBC while praising some the moments of the album said "it's a tantalising parting taste of potential capabilities, yet until they improve a customer satisfaction hit rate that barely troubles one in three tunes here". Steve Juon of RapReviews gave it a seven out of ten. Thomas Quinlan of Exclaim! said "La Coka Nostra are an interesting collection of collaborators that live up to the hype".

and Sebastian Kokus and the prolific Ulf Schütte, the Hamburg-based trio has tirelessly expanded upon its sound and extended its musical style. After 2022’s »S/T« documented the results of their first jam sessions as a newly-founded group, »V.A.« started even more modestly and became an even bigger undertaking. Originally conceived as a small one-off release, it grew into a full record which sees the group embracing dub music, collaborating with Peaking Lights’ Aaron Coyes and inviting other artists—No UFO’s, Seekers International, Coco Em—who reworked select tracks in true dub style. »V.A.« is marked by inconsistency, openness, and heterogeneity in the best sense of those words: ever-changing, constantly surprising and consistently in motion.

The starting point for »V.A.« was a Hamburg concert in December 2022 together with Coyes, who played a solo set as Peaking Lights. On the request of the event organiser, Cloud Management teamed up with him for a jam session after the gig, laying the foundation for a track that the group took to the studio before sending it to Coyes to record vocals for it. Another song quickly followed and even though the band initially intended to release »PST« and »0rten Pitch« as standalone 7” single, they soon decided to have others create versions of the two tunes to round them off in the form of a 12” EP. Once more though, one thing led to another and now »V.A.« collects five original pieces by Cloud Management as well as three—four on the digital version—remixes by other artists.

Collaborating with Leipzig-based Canadian producer No UFO’s, the Canadian Seekers International collective, and Kenyan multi-disciplinary artist Coco Em came about organically. As fans of their friend Konrad Jandavs’ work for labels such as Spectrum Spools, Root Strata and his own Nice Up International, Korf, Kokus and Schütte asked him for a remix and granted him full creative freedom for his take on »PST«. Jandavs also connected them with the prolific Richmond-based soundsystem worshippers, who present their take on the same track on this record as well as a version of »Electric CD.« Also this track appears three times on the record, having been re-rubbed by Emma Mbeki Nzioka, who was introduced to the the trio by its label Altin Village & Mine.

There isn’t really a common thread running through the rough digi-dub of No UFO’s take on »PST«, Seekers International’s traditionally-minded yet infinitely playful dub-psychedelia and Coco Em’s bass-heavy, percussive, pulsating take on »Electric CD.« However, as a group dedicated to staying in flux at all times, Cloud Management ended up embracing the creative differences between their own work and those of their respective collaborators. In calling it »V.A.,« they paid tribute to their somewhat loose, but conceptually consistent concept of giving various artists full creative licence over their own work. Neither a true album in the strict sense of the world nor just a compilation, »V.A.« is actually the essential Cloud Management record: ever-changing, constantly surprising, consistently in motion.

The Duca Bianco label swerves its usual various artists' format to allow CW - who has appeared on those before - to step up with his own solo EP. He is a mysterious artist but is well known for his immersive record collection and legendary sets on the London scene. He is one-third of the Beauty & The Beat party and brings his unique twists of Afro and soul to this quartet of tunes. 'Karambolage' opens up with lots of big horns and noodling string sounds over a ramshackle beat then things take a cosmic turn on the rather more psychedelic 'Six Times Seven' with its Nippon-koku polyriddims, while 'Ou Ka Jis Fe Kole' is a party starter with a Zouk dub edge and 'Nzimbab' is built on a low slung and swaggering rhythm.

Canary features 10 new songs written, performed, recorded, and mastered by Jefferies during the COVID-19 lockdown. Inspired by Emily Bronte's spiritual beliefs, NZ's most famous racehorse, and the haunting timbre of a meticulouslyrestored Marxophone, Jefferies mesmerizes with perhaps his finest balladry yet. "Where Did We All Go Wrong?" and "Where Do We Run To Now?" wrestle with the challenges presented by pandemic isolation and uncertainty. Jefferies deftly examines the limited choices during lockdown, employing a bit of black humor and finger pointing to stir the soul, and bringing some much-needed levity to this unprecedented time.

Five years after the release of ‘Luyando’, Zimbabwe’s most celebrated music export returns with their long-awaited follow-up album ‘Tusona: Tracings in the Sand’. The six musicians from Victoria Falls are refining their unique sound: infectious Afro grooves deeply connected to Zimbabwe’s cultural DNA. ‘Tusana’ is their most danceable album to date, a DIY production recorded in Zimbabwe. It features horns by Ghanaian highlife outfit Santrofi.

Every Sunday, there is a gathering in the sweltering heat on grounds of an old local beer hall in the Chinotimba township in Mosi-o-Tunya (Victoria Falls). Entertainment is provided by various traditional groups including the Luvale Makisi masquerade. It is a day full of singing, drumming, dancing and storytelling. Mokoomba’s lead vocalist Mathias Muzaza can often be found here singing with a voice both soaring and vulnerable. In the course of the afternoon the other band members - guitarist Trustworth Samende, bass player Abundance Mutori, keyboard player Phathisani Moyo, percussionist Miti Mugande and drummer Ndaba Coster Moyo - often join in with singing. The drum driven song “Bakalubale” featured on their new album invites you to this gathering.

Mokoomba recorded ‘Tusona: Tracings in the Sand’, the follow-up album to ‘Luyando’ (2017, Outhere), in Zimbabwe during the pandemic. Instead of working with outside producers like Manou Gallo or Steve Dyer as they have in the past, this album was entirely recorded in a DIY fashion by Mokoomba. The collective from Zimbabwe put in all the experiences made over the previous years and have forged their music into a unique Zimbabwean sound. On popular demand from their fans in Zimbabwe they have even re-recorded three songs from their last more acoustic album ‘Luyando’ turning them into dancehall bangers (featured on the CD and digital versions of the album). In short, this album is more Mokoomba than any of the ones before.

On the album Mokoomba are singing about love, loss, courage in a changing society. The first single “Nzara Hapana” means “no money” in Shona. The song talks about a man who wants to ensure the future of his wife and family and is trying to protect them against the greed of his relatives. The danceable up-tempo song “Nyansola” praises the goddess of harvest and asks her for rain. “Makisi” is sung in Luvale. It celebrates the beauty of the initiation ceremony for which the whole community comes together. “Manina” is a song about losing a loved one. It was written during the pandemic and features the young singer Ulethu from Harare. Mokoomba sing in many different local languages. Their songs are in Tonga, Luvale, Shona, Nyanja and even Lingala used in “Makolo” when they team up with Congolese singer Desolo B. (The album also features horns by Nobert Wonkyi Arthur (trumpet), Bernard Gyamfi (trombone) and Emmanuel Arthur (sax) from Ghanaian highlife outfit Santrofi.)

The title of the album is a nod towards their immense respect for tradition. ‘Tusona’ refers to an ancient system of signs and symbols, drawn in the sand and used for instruction during initiation ceremonies by the Luvale in Southern Africa. Another important part of the Mukanda initiation ceremony is the incredible Makisi masquerade. Since 2008 the Makisi dances are on the UNESCO list of intangible heritage. The Makisi are masked characters, representing the spirit of deceased ancestors. During the yearly initiation ceremony the Makisi return to the living world to teach the young children to become responsible adults among the Lubale people of Southern Africa. In the last decade the interest - especially among the young people – has faded and the Makisi dances have nearly died out.

“Our inspiration comes from these gatherings”, Trustworth Samende explains, “from listening to and playing pure traditional music with everyone in the township. We then add influences from music that we listened to in our homes growing up and the sounds we experience travelling around the world.” It is the connection with the cultures around them that gives Mokoomba’s music its spiritual power. When you hear Mathias Muzaza singing and you watch closely, you will see the music carrying him away to a different sphere, a place where he is singing with the ancestors. Only a split second later though Trust Samende’s sparkling guitar riffs kick in, blending Congolese influences from neighbouring Kasai with Zamrock and Mbira inspired Chimurenga music, making you want to hit the dancefloor. It is this unique blend of local musical styles with contemporary dance music that is at the heart of Mokoomba’s music. The strong reference to tradition is also reflected in the cover illustration by young Zimbabwean visual artist Lomedy Mhako.

It has been nearly 10 years since this young energetic band from Zimbabwe has exploded onto the international music scene. Since then they have shared their music with fans all over the world: Mokoomba have performed in over 40 countries, rocking audiences in places like Roskilde festival (Denmark), WOMAD festival (UK), Sziget festival (Hungary), SXSW (USA), Apollo Theatre (New York) to name but a few.

Like anywhere in the world Africa’s musical output has become more and more producer based. Mokoomba are the living proof that Africa’s great guitar band heritage is well alive and ready to set any dancefloor on fire. Most important though is that deep below the surface of Mokoomba’s sound - flowing like the Zambezi River - you can still hear the heartbeat and the rhythm of a community connected by its music. Like ‘Tusona’, it is a source of rejuvenation, resilience and strength in these changing times. May the tracings in the sand not fade.

On the eve of her 80th birthday, Dona Onete - ‘the grande dame of Amazonian song’ - returns with Rebujo, a love letter to her hometown of Belém, situated deep in the Amazon.

Rebujo brims with two music styles born in Belém: carimbós, influenced by African grooves, and bangues, a ska-type rhythm, plus there’s a cumbia, brega (‘romantic’ music) and samba.

Since the release of her 2017 album Banzeiro, Onete has become a superstar in Brazil – she composed and sung the theme song for one of Brazil’s biggest soap operas (A Força do Querer), been awarded the Brazilian Ordem do Mérito Cultural in recognition for her contribution to Brazilian culture + her video for ‘No Meio do Pitiu’ has an impressive 9.2m views on Youtube.

Outside of Brazil she’s performed at Roskilde, Womad (UK, NZ & AUS), Gilles Peterson’s Worldwide Festival and TFF Rudolstadt and is a global spokesperson for indigenous cultures.

- 3rd album of funky Brazilian/Amazonian grooves from the ‘Diva of the Amazon’, mastered @ The Carvery
- David Byrne, Caetano Veloso, Gilles Peterson, Cerys Matthews all big supporters

On the eve of her 80th birthday, Dona Onete - ‘the grande dame of Amazonian song’ - returns with Rebujo, a love letter to her hometown of Belém, situated deep in the Amazon.

Rebujo brims with two music styles born in Belém: carimbós, influenced by African grooves, and bangues, a ska-type rhythm, plus there’s a cumbia, brega (‘romantic’ music) and samba.

Since the release of her 2017 album Banzeiro, Onete has become a superstar in Brazil – she composed and sung the theme song for one of Brazil’s biggest soap operas (A Força do Querer), been awarded the Brazilian Ordem do Mérito Cultural in recognition for her contribution to Brazilian culture + her video for ‘No Meio do Pitiu’ has an impressive 9.2m views on Youtube.

Outside of Brazil she’s performed at Roskilde, Womad (UK, NZ & AUS), Gilles Peterson’s Worldwide Festival and TFF Rudolstadt and is a global spokesperson for indigenous cultures.

- 3rd album of funky Brazilian/Amazonian grooves from the ‘Diva of the Amazon’, mastered @ The Carvery
- David Byrne, Caetano Veloso, Gilles Peterson, Cerys Matthews all big supporters

After Joao Selva, Dowdelin, The Bongo Hop, Underdog Records continue their exploration of the Black Atlantic with IREKE.Ecstatic brass, 70’s keyboards, elastic guitars, round bass and world percussion: from this sonic heritage, Ireke makes a unique fusion, enhanced by the audacious contribution of his dub science, and a few electronic touches

IREKE

Ireke? Sugar cane in Yoruba. Like her, the duo loves tropical climates and intoxicating rhythms, quick to liberate the bodies gathered on a dancefloor. Afrobeat urgency, funk suppleness, dub alchemy, highlife jubilation: with Tropikadelic, Ireke summons the heritage of the masters and the audacity of machines to give life to new sonic territories. At the crossroads. For the love of groove.

From the West, with their ears to the Black Atlantic, Julien Gervaix and Damien Tes- son are both children of the collective and of improvisation, playgrounds for these complete multi-instrumentalists.

The first one puts his talents of arranger-saxophonist at the service of the Nantes collective Soulshine and of numerous formations - in turn funk or rhythm’n blues - where swinging is the rule.This is notably the case of the afrobeat group Walko, in which Julien Gervaix had the honour of sharing the stage and the studio for several years with Kiala Nzavotunga, guitarist extraordinaire for Fela Kuti and Egypt 80. Meanwhile, Damien Tesson was being trained as a dubmaster-guitarist-arranger at the reggae roots school with the digital option of the Vendée collective Shi Fu Mi Temple.This initiation led Damien Tesson to join, among others, the Nantes-based group BIBA (Bingy Band) and then to collaborate with Jideh High Elements, a key figure on the international dub scene, Roberto Sanchez and the team of his Lone Ark Studio, as well as Sana Bob, a famous reggae singer from Burkina Faso.And then, life being well done, the paths of Julien Gervaix and Damien Tesson ended up crossing within the jazz-funk combo Playtime, before meeting again in the Vendée a few years later.

With an obvious tropism for Afro-Latin grooves, tropical colours, electronic tricks and furious swaying, the two musicians create Ireke like a glass of well arranged rum. Here’s to us, here’s to you! As if guided by the spirit of the plant, Ireke toasts the immense richness of these danceable rhythms, true generators of life, connection and energy.

Like Legba, the Yoruba orisha of intersections and crossroads, Ireke thrives in the between worlds.Aware of the lineage of goldsmiths who preceded them, Ireke

knows his classics and humbly draws inspiration for Tropikadelic from the musical genius of Pat Thomas, Poly-rythmo Orchestra, King Tubby,Tony Allen, Fela Kuti, Maître Gazonga, Ernesto Djédjé or the Vikings of Guadeloupe. Ecstatic brass, 70’s keyboards, elastic guitars, round bass and world percussion: from this sonic heritage, Ireke makes a unique fusion, enhanced by the audacious contribution of his dub science, and a few electronic touches patiently flushed out in the studio - which the duo considers as an instrument in its own right.

Finally, to give voice to his compositions, on Tropikadelic, Ireke calls upon an army of serious enthusiasts, each member of which has come up with his or her own lyrics. Thus, alongside Ireke, we find the groove griot Pat Kalla (“Femme qui Danse”,“Love Is Jokin”), the Franco-Laotian reggaeman Amatah Keo (“Man Bo Diak”), the Vendée- based Agnès Hélène (“Petit à Petit”,“Oh Ma Chérie”) and Charly Sanga (“Bas Les Masques”,“Oh Ma Chérie”), the Burkinabè lion Sana Bob (“Métissage”) as well as the Nantes soulman Jy Cooly (“Kinkeliba”).

For the duo, music is above all a collective practice, an active liberation, a rhythmic approach to letting go, a source of communicative joy... In short, groove is the weap- on! And Ireke knows how to use it.

Relentless raver and emerging artist from the Rinse France roster of captivating talent, RONI launches her imprint Nehza Records with a five-track EP titled ‘Slowing’ by Bordeaux-based Neida . Marking the debut release on the label, Neida is the first producer to bring RONI’s fantasy-led vision to life.

‘Slowing’ is a cross-pollination of breaks, acid, jungle and bass which nods to the sound of the underground UK rave scene circa 1990. An era that RONI closely aligns with in terms of sound, art and the sense of liberation synonymous with 90s club culture, Neida nails this aesthetic throughout the EP. ‘Bull’ sets a powerful tone as the opening track, packed with punchy drums layered below an orchestral-like vocal before ‘DSO’ burbles through with squelchy synthwork over a 4/4 beat — a clear hint of that UK rave sound simmering under the surface. Garnering his appreciation for reggae and Rasta dialect, Neida’s rework of a vocal derived from reggae artist Don Carlos is masterfully blended into this 6-minute churner.

Over on the B-side, ‘Guess Who’ burns slowly with downtempo breaks and mesmerising chords; you can almost smell an imaginary forest as the track unravels, creating an image of tripping in nature. ‘WHT’ rumbles through with a mellow introduction before going full-whack into barreling drums and clap-heavy percussion, illustrating Neida’s ability to dip into experimental textures that nod to complex rhythm patterns rather than club-cut melodies. ‘For All The Time Sake’ closes the EP with an acid bassline and bright, crisp percussion ending the EP on a significantly vibrant note to mark the first stepping stone of RONI’s record label. ‘Slowing’ is a spiralling myriad of bright atmospheres and escapism, likely to be one of many sonic trademarks on Nehza Records.

Created during the dark days of lockdown, Rnbws' debut on Nehza Records is a luminous blend of contemporary breaks, enchanting techno and a flash of house. Each track tells a story of our connexion to Earth and an ongoing glimpse of danger within sight. Rnbws has dubbed each side of the release “Dark” and “Bright'' to represent moody tones and doom-ridden rhythms on Side A, while Side B leans towards spirited melodies to signify hope and restoration.

Side A — the “Dark Side” — opens with ‘Could Happen To Anyone’. Led by a twisted vocal that morphs into a myriad of crispy hi-hats and low-slung basslines, the intro track reflects the theme of the label; consumerism in the Western world and the terrifying consequences inflicted by human behaviour that could indeed, happen to anyone. ‘Modelicious’ follows suit, stepping up the pace with loopy 808 drums and crunchy percussion, kindling Rnbws flair for electro. ‘Untied’ fizzes with a bang of The Prodigy’s early sound thanks to stripped-back drums and a fully charged synth exploding to the fore, which Rnbws intricately reworked for the record.

On the flip, 'Devotion' marks the “Bright Side''. The track is a mesmerizing house groove, layered with uplifting chords and arpeggiated synths to provide a burst of heartfelt rhythm. This is the track made for hazy outdoor settings to welcome festival season as RONI curates each release in tandem with the four seasons.

‘Salvation’ settles the pace with an acid-drenched lead splattered against dreamy pads and smooth bass, hinting that there is still time to take action and salvage the Earth. The ambient-style ‘Stupid’ closes the EP, neatly taking Rnbws' preceding productions and packing them into one short, shimmering departure to end the aural trip. In the style of Nehza Records, the final track title coincides with questioning the warped view of those in power who fuel the destruction of our environment.

Industrial Hardcore and Speedcore, from 180 to thousands BPMs (last tune is an accelerator)...
Once again an architectural superb photo on the sleeve.

Limited press to 150 copies.

It’s been seven strange years since The Veils’ last studio album Total Depravity, and Finn Andrews has a new double LP to show for it. "...And Out Of The Void Came Love" is the result of this tumultuous period of injury, isolation and new life...

Following the release of Total Depravity, Andrews released a solo album and began a worldwide tour. One night, while lashing out at a particularly intense moment on piano, he broke his wrist on stage. “It sounds wild and Jerry Lee Lewis-esque, but it was an absolute fucking nightmare,” Andrews says. He played on and finished the rest of the tour, but it wasn’t until he got it examined much later that he realized what a bad move that was. “The scaphoid bone in my wrist had died, which I didn’t know was possible. My sister said that at least it was a really ‘on brand’ injury for me.”

Finn’s convalescence meant a lengthy hiatus from touring, so he did what he does best and stayed at home and wrote songs. “I was in a cast and couldn’t use my right hand. I sang the melody lines, then recorded the right hand piano part, then the left hand part. It might have been an interesting, avant-garde process if it wasn’t also just profoundly annoying.”

Just when his hand had healed sufficiently for him to play again, The Veils found themselves in need of a new record label but Finn set about starting to make a new record regardless. Producer Tom Healy invited Finn to his small studio underneath the old Crystal Palace ballroom in Mount Eden, and they listened through the legions of songs he had amassed throughout the previous year.

“Tom was incredibly patient, it was a really laborious process - I brought a lot of junk down there and we had to sift through it all to try and find the parts worth saving.”

Following another two years of intermittent recording between lockdowns, Finn’s wife became pregnant, and yet more songs started coming.

By the time the songs had been recorded, it was clear that arranging the album into two halves best suited such varied material - but the meaning of the songs as a whole still eluded Andrews. “Then my daughter was born, and suddenly the whole record made sense to me,” he says. The music was telling a story, and somewhat strangely for The Veils, it seemed to have a happy ending.

The result of all these years of questioning, confinement and precarious uncertainty is the magnificent new double album from The Veils … And Out Of The Void Came Love. It is an album intended to be listened to in two sittings with a short break in the middle, or as Andrews instructs: “Make a coffee or smoke a cigarette – but don’t mow the lawn or go to the movies or something, that takes too long.”

Composer Victoria Kelly’s soaring string arrangements play an integral role in bringing the songs to life, as do musicians Cass Basil (bass), Dan Raishbrook (lap steel, guitar), Liam Gerrard (piano), Joseph McCallum (drums) the NZTrio and special guests the Smoke Fairies on backing vocals.

“Refreshingly passionate… Andrews rages with a Herculean intensity.” The Guardian
“Horse-whipped, lightning-crash clamor… magnetic.” Pitchfork
“One of the finest songwriters of his generation.” Drowned in Sound