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Japanese folk-rock legend Morio Agata stunned fans with this way-outta-left-field dispatch - a synthesizer-laden, new-wave/post-punk classic. Originally released by Osaka’s Vanity Records in 1980 and back on vinyl for the first time in nearly 40 years, this fully authorized reissue has been remastered from the original analog tapes. In tip-on sleeve, with double-sided insert.

50 years ago, Hokkaido-born singer-songwriter Morio Agata released his debut single, Sekishoku Ereji (Red Elegy), an emotive, shuffling piano ballad that (shockingly) sold half a million copies in Japan. While he would never have another Top-40 hit, Agata would spend the next half century issuing a series of idiosyncratic, experimental pop albums. Today, he’s a beloved cult figure, still actively touring and recording in his seventies.

In his first decade as a recording artist, Agata released a stream of classics right out of the gate — Otome No Roman (1972) melded American-styled folk rock with traditional Japanese melodies, Zipangu Boy (1976) was a sprawling, Haruomi Hosono-produced psychedelic opus, and Kimi No Koto Suki Nan Da (1977) saw Agata tackle slick, lightly funky AOR. While this sort of stylistic schizophrenia might sink your average artist, Agata’s singular voice and magnetic charisma elevates everything he touches, and subsumes it all into Morio Agata World — a joyous, playful and frequently unhinged world.

Arguably the biggest left-turn of Agata’s early career, however, came in 1979, when legendary experimental label Vanity Records’ Yuzuru Agi paired Agata with major players from his label’s roster and the Osaka punk scene for an impromptu recording session. An impressive list of musicians took part (SAB, Yukio Fujimoto (Normal Brain), Masahiro Kitada (INU), Taiqui (Ultra Bide), Jun Shinoda (SS), Chie Mukai (Che-Shizu), and others) and even though they all came from different wings of the underground music scene, together they built an arresting, minimalistic bedrock of synthesized and acoustic sounds for Agata to work his magic over. The recording sesssions were tense and it took a while for the collective to find their footing. But the hard work paid off — Norimono Zukan is a masterpiece of ramshackle new wave and droning dirges, topped off with Agata’s unmistakeable croon, at times delicate, other times twisted. It’s a relatively short album, but a deep one, and Mesh-Key is honored to introduce it to a new generation of music fans.

Hand the king of re-edits Late Nite Tuff Guy the keys to an unreleased Silk recording from the ‘70s hey days and you’ve got yourself a recipe for greatness. A’s and Bees line up their second heavyweight 12 inch pressing, with two exhilarating edits from LNTG alongside the first ever release of the original recording. As ever 50% of the profits from this release will be donated towards the British Beekeepers Association.

It's rare to crack the vaults on a recording that’s as good as this, that never saw the light of day. Courtesy of ‘70s Philly International wonders Silk, most famed for their soul sensation ‘I Can't Stop (Turning You On)’ that was sampled by LF System for their 8 week strong number 1 release, ‘Somethin' 'Bout The Way’ has all the elements of a smash hit. As catchy as they come, singalong sensibilities and musicianship of the highest order with vocal harmonies to match, it’s genuinely astonishing that this never got released. Who better to tweak this into an all-out disco stomper, than re-edit royalty Late Nite Tuff Guy. His Disco Dub teases in, loops up and adds extra punch to all the elements that make the original such a standout track, before letting loose those joyous vocals. Big room, full body, DJ friendly business this!

On the B side, the original mix gets it’s first ever release, with LNTG providing a shorter edit of his full throttle re-work to round off the package.

Originally released back in 1999 via Mindfood Records, Tiny Elvis ‘Desire’ EP gets a much-needed reissue on Cosmocities, topped off by two incredible remixes from Bushwacka! and Max in the World.

A smoother-than-smooth introduction into Tiny Elvis’ deep and progressive headspace, ‘Desire’ blazes with a modern soul and timeless fire at heart. While there’s no denying the time and era emanating from the grooves, the record prefigures a lot of the mind-expanding house music that’s come to fill the shelves and crates of vinyl shops two decades on. A distinctive blend of pumped-up, 303-brined jazz and abstract-leaning vocal loops ushering us into a pulsating heart of LSD-fuelled visions and climax-seeking energies.

Adding his invariably genius spin to ‘Desire’, UK house maestro Bushwacka! tweaks the original’s trademark wonkiness into that of a floor focused weapon, geared up for deep boogie action down the basement but lacking none of that prominently silken, loungey magnetism either.

On the flip side, ‘Howze The Music’ cuts a path of squelchy, strings-driven hypnosis, beautifully combining the liquid-like essence of acid with a neo-classical sense of evolutive emotion, injecting it with a tang of trancey tribalism for good measure.

New York's Max in the World gives a further dreamy, cinematic twist to proceedings, taking us on a lush ride across flickering landscapes flush with honey-dipped synth stabs, a-propos sampling and blissful strings stirring all kind of emotional flows with unrelenting verve.

Following up on their acclaimed debut EP Yagana in 2022, the 5-piece band Pigeon return with a brand new offering: Backslider.

As Pigeon develop and hone their sound further, Afro-disco remains at the core while jazz and no-wave make way for new elements of electro, rock and synth pop.

With their debut Yagana EP gaining critical acclaim, each member has found themselves heavily in demand on top of their own individual pursuits – Falle Nioke is releasing his solo work as well as other projects, while Steve Pringle and Graham Godfrey play in various bands (Michael Kiwanuka and SAULT to name a few). Adding to the creative melting pot, Tom Dream pursues filmmaking and bespoke music composition via his own studio, and Josh Ludlow runs his own record label M.A.D. Records.

​​Lead single 'Backslider', a laid-back, 80s funk-rock bassline is backed by a deliberate, plodding drum kit - frontman Falle Nioke proceeds to sing in English and French - calling someone a 'backslider', for their dishonesty and bad behaviour.

Track 'Ikanabore', is a fast-paced, Afro-disco workout primed for the dancefloor, driven by a catchy chorus, guitar hooks, a heavy rollicking kick drum and plenty of modulated synth - highlighting the band's ability to effortlessly cross between tempos and genres.

Orpheu the Wizard has a magic touch at finding records that fall between the gaps in music - oddities, curios, the weird, the wonderful. But that's just half the trick. It takes a sensitive and selective ear to construct a coherent, accessible narrative from them. So you get DJs who can play for the crowd and "selectors" adept at mining the black gold. In Orpheu, you've got yourself someone who can do both. On a festival main stage, he can keep it weird enough for the heads. In an audiophile setting, he'll keep the flow.

These skill sets come into play on the fifth The Sound of Love International compilation. Jumping between genres, decades, continents, the truly rare, and many B-side cuts that passed you by. But never eclecticism for its own sake; this collection makes sense. Orpheu never loses sight of the listener - he's a friendly and knowledgeable guide to the cosmic outer reaches.

He opens his account with the warm, psychedelic electronics of Drawing Future Life, with ‘1969’. Tucked away on the B-side of an LP of ambient/trance hailing from Fukuoka, this is a very pretty piece of music on a truly rare piece of wax. Then, leapfrogging a couple of decades and timezones, we have Rutuu Poiss' "IHATSIN." Off-kilter, experimental sounds with an endearing melodic hook, followed up by the with lethargic ambient breakbeat of Digital Distortion's "Mellow Bug".

On the B-side, things start to get lively. French Audacity featuring Valerie's "That Fine One" is Gallic garage that has simultaneously got it hugely wrong and mas­sively right. Owing as much to new wave as New York house, this is propulsive and quirky dance music at its finest. Next, we're on a ferry over the channel for DJ Spike and "Gaps In Space." Up-tempo electro with a fondness for sampled vocal cut-ups, like its predecessor.

lnterdance's "Kurz" (another B-side) is the perfect segway - house from 1990 with that sweet, slightly goofy naivete. Things move toward the gnarly with Bad Behaviour and "Living on Smoke," a lesser-known cut on the legendary Atmosphere records. The tempo edges upward on "Systematic Input" by Frequency, hectic hardcore techno that still retains a lightness of touch.

"Lushes" by Diffusion spins us off into space, filigree techno with an emotive trance edge. The chiming intro of "Blue to Be Happy" by MFA lulls us into a sense of false security before massively putting the boot in with a pounding kick drum, bassline, and arpeggiation. From there, it's a sharp left turn into the urban psychedelic dub of R.I.P's "E.O Pan" on cult label Digi Dub.

Sticking with UK sound system music but taking it down a notch, Orpheu closes proceedings with a leftfield reggae excursion from the master of the mixing desk, Mad Professor’s"Oh Hell".

It's a compilation as varied as the many moods and grooves of Love International itself - from sun-dappled olive groves to moments deep in the strobes. This is serious music for party freaks or party music for serious freaks. Tisno is calling.

Following the 2022 release of The Soft Moon's highly praised fifth full-length album Exister, 2023 sees the release of Exister Remixed, a harsh and textured collection of 5 remixes by some of Europe's boldest industrial techno EBM and experimental electronic artists: Phase Fatale, Unhuman, OTHR, Gael and Norbak. Hailed as "The Soft Moon's most expansive statement to date..." (Brooklyn Vegan) and a "meticulously crafted, vividly greyscale industrial post-punk" (The FADER), Exister is a post-punk industrial masterpiece engulfed in a brooding yet thundering atmosphere - and these reworkings offer an even greater layer of intensity. The Soft Moon's 'Exister' tour will continue through spring and summer 2023 across Europe, UK, Asia, and USA.

Exister Remixed is out June 23rd, 2023 on digital and vinyl 12" format. This is a joint-release between Sacred Bones Records and Bite Records (Phase Fatale's imprint).

Freestyle Records are proud to reissue Ambiance II Fusion's mid-80s fusion rarity "Come Touch Tomorrow" - originally recorded in Hollywood CA October/November 1984 and released in 1985.

Following a yearly run of 4 albums self-released between 1979 and 1982, Nigerian-born saxophonist, flutist, and clarinettist Daoud Abubakar Balewa then took a few years off before returning with 1985's "Come Touch Tomorrow", the first of two albums issued under the updated name of Ambiance II Fusion. Combining the afro-spiritual jazz & be-bop inflected fusion of his earlier work as Ambiance, this record took the project into more modern & distinctly cosmic planes with the introduction of spacey pads and drum machines working alongside somewhat tighter arrangements and solid rhythm sectons. Of particular note here is the B1 track "Boy What a Joy" on which a sublimely funky synth & drum machine throwdown is presented in prophetically lo-fi fashion - recalling recent stylistic approaches from the likes of Dâm-Funk among others.

Participating Musicians:

"AMBIANCE II FUSION"

Stanley Dominguez - Guitars

Dr. Isacc Ford - Drums/Electric Drums

Ralph Rodriguez - Percussion

Juliian Breeton - Bass

Jardin Wilson - Bass

Lee Williams - Keyboards/Syntheziers

Daoud Abubakar Balewa - Alto & Tenor Saxophone/Percussion

Larry Dominguez - Alto Saxophone

Suzanne Daniels - Vocal Sounds

"AMBIANCE II FUSION ENSEMBLE"

James "Kino" Cornwell - Keyboards

Randy Landis - Basses

Rick Smith - Percussion

Jim Lum - Guitars

Arnold Ramsey - Drums

Daoud Abubakar Balewa - Soprano Saxophone/Percussion

Recorded at Sound Images Recording Studios - Sound Images Entertainment Complex - North Hollywood, CA & Classic Sound Studios - Hollywood, CA. October/November 1984.

George Apergis aka EMEX, founder of Modular Expansion, returns after 2 years with a Collection of Classics! George Apergis makes his great return with a retro - italo infused banger techno track “Retrograde”. The release continues with the two first ever tracks of George Apergis, produced back in 2005 but never officially released! “Rave On” the electroclash smash hit and “Sleeping With Headphones”, a techno theme with percussive rhythms, bass synth lines and unique vocals, representing the sound of 00s. The release closes with “Back Forward” a hard kicker track with rave synth lines, percussive rhythms that goes beyond and creates a perfect rave tool.

When I first heard Natalie Rose LeBrecht's time-suspending, air-ionizing music, more than twenty years ago, I thought "this kid is on to something." She's been proving that thought right ever since. Her recordings, from the teenage 4-track tapes she made as Greenpot Bluepot to the recent albums under her own name, have been fascinating dispatches from her progressively deeper dives into her gorgeous, weird, wildly idiomatic aesthetic. Holy Prana Open Game is a jewel of intensely personal cosmic music, created through a remarkable process of openness, craftiness, addition and subtraction. It belongs to a tradition of albums that document a rich, meditative sound as it rises up to join the world outside its creators' minds: Alice Coltrane's Universal Consciousness, Harmonia's Musik von Harmonia, Philip Glass's North Star, Talk Talk's Laughing Stock.

"Meditative" is specifically the idea here: Holy Prana Open Game had its origins in the fourteen days LeBrecht spent silently meditating in her home's small music room in the summer of 2019. "I came out of that bursting with the will to create new music," she says, and she created it sound-first. LeBrecht taught herself to program an analog synthesizer's timbres from scratch, and built a new set of glacial, heady compositions out of them, eventually singing to accompany the keyboard parts she was playing.

Then she closed her eyes at her computer, "let my mind be clear and open, imagined light pouring down through me, and began auto-writing to my memory of the music playing through my mind. Most of the lyrics emerged this way, and then I used my conscious mind to refine them a bit at the end." One other song came along with LeBrecht's new pieces, a cover that seems wildly unlikely from the outside and makes total sense in its context: it's a version of Atoms for Peace's "Amok" (which had been created by improvisation and editing, too), mutated into her own idiolect.

In early March of 2020, LeBrecht recorded Holy Prana Open Game's analog synth parts with Martin Bisi at his studio in Brooklyn--and then the world shut down. As you may have gathered, LeBrecht is very much a spiritual, head-in-the-stars type. She is also extremely hardcore, and if making the art she wants to make means doing things the hard way, she cracks her knuckles and gets down to it. Within weeks, she had taught herself how to record, mix and edit with a digital audio workstation. She recorded her vocal parts (sometimes multi-tracked into a radiant choir) at home, assembled a rough mix of the album, and sent it off to her collaborators.

LeBrecht spent some years studying with and assisting La Monte Young and Marian Zazeela at their legendary sound-and-light installation, the Dream House. As with their work, her singular, precisely focused vision is shored up by its openness to artistic voices beyond her own. For Holy Prana Open Game, she worked with the Australian guitarist Mick Turner and drummer Jim White (both of Dirty Three, the Tren Brothers and innumerable other projects), as well as woodwind player David Lackner, a longtime presence on her recordings.

Turner and White have been playing together in one context or another since 1985; in the summer of 2020, they were only blocks from each other in Melbourne, Australia, whose strict lockdown meant they couldn't meet up to record together. So both of them, as well as Lackner, recorded their improvisational additions to LeBrecht's rough mixes individually, often without hearing each other's contributions. "I had asked them to play as much as they could on each track," she says, "and told them that I would edit it all down in post, so I had a lot of source material of theirs to work with."

LeBrecht arranged and edited the recordings from all four of their homes to flow together like breath across the duration of her suite. Prana, one of the album's central conceits, is in fact the Sanskrit word for breath, with the connotation of the breath of life. Like LeBrecht's music, prana flows at its own pace, and demands stillness to take in fully--but it's also subtly playful and surprising, a force that can be as light as air or as immersive as the atmosphere itself.

In August 2020, following some typical delays at the plant, Fourth Dimension Records released the limited edition 2LP (and now sold out) set of Kleistwahr's This World Is Not My Home and Over Your Heads Forever albums, originally released by the same label in 2014 and 2016 respectively. Packaged together in a single sleeve with printed inners reproducing all the artwork found on the original CDs, the 2LP was always designed to represent the first volume in a series of them. This next volume gathers everything on the next two albums, Down But Defiant Yet and Acceptance is Not Respect, both also initially released on CD in, respectively, 2017 and 2018, and presented in the exact same way. 2017's long sold out at source album, Down But Defiant Yet, collects four lengthy cuts which catch Gary Mundy (also known for Ramleh, Breathless and Broken Flag Records) furrowing his distinct and recognisable take on a kinda contemporary psychedelia with dystopian leanings. Each piece nods towards the fug generated by certain ‘krautrock’ groups whilst retaining threads of those uncompromising power-noise surges he built his reputation on, this is music guaranteed to take you to new spaces before forcing you to nervously look over your shoulder. 2018's Acceptance is Not Respect collects two lengthy pieces themselves broken down into seven parts often tempered to the point restraint assumes new, often disturbed (and disturbing) psychedelic or even filmic, properties, this music arrives like a spitting and foaming scream into the insanity of the void and the myriad challenges and questions it inexorably keeps hurling at us. Whereas Ramleh captures the sound of at least two people dealing as best they know how with the constantly rising rivers of shit around us, Kleistwahr is akin to one man having scaled a great height poking out of an infinite chasm and wondering why he bothered. This is uneasy listening sometimes renderedvirtually elegiac by dint of a prowess rarely found in such realms. Of this, Gary himself quite prophetically, in light of how events have shaped the world since said, “I was trying to make the music more spiritual sounding this time as the album is about belief. The first half is about personal and political belief and the second half about religious belief. I was wondering about whether in the 21st Century, you can seriously get anyone to completely change their beliefs and [am] asking is there anything you believe that you would be willing to die for, and the difference between the way that most beliefs have been accepted/tolerated and [are] supposedly respected in recent times in [the UK]. Now our society is starting to break down, it becomes clear that that acceptance tends not to actually be the same thing as respect at all.”

Little Feat is the quintessential “cult” band. Started by Lowell George, 1972’s Sailin’ Shoes captures these musical rebels at one of their early peaks. The songs on Sailin’ Shoes are a masterful collage of inventive narrative, resplendent in countercultural irony and romance. Featuring the classic tracks “Willin’” (covered by Linda Rondstadt and many others), “Easy to Slip” (originally written for the Doobie Brothers) and the title track, it’s an album whose status has grown immeasurably, making it one of the most acclaimed releases of its era. With 1973’s Dixie Chicken, Little Feat found its signature sound as a band, producing a seductive, laid-back, funky record made up of what is arguably Lowell George's best-ever set of songs. With tracks that sound easy but are quite sophisticated, fans will enjoy hits like the rolling "Two Trains," the deeply soulful and funny "Fat Man in the Bathtub" and the country-funkified title track (which was covered nearly as frequently as "Willin'"). These deluxe editions include the original albums remastered and recut from the original tapes, alongside previously unreleased studio outtakes and demos, and complete unreleased live shows. It’s a treasure trove of material for their feverish fan base, and the first ever deep dive into one of the most influential bands from the 70’s Warner catalog.

[a] A1. DIXIE CHICKEN (2023 REMASTER) [3:55]
[b] A2. TWO TRAINS (2023 REMASTER) [3:06]
[c] A3. ROLL UM EASY (2023 REMASTER) [2:30]
[d] A4. ON YOUR WAY DOWN (2023 REMASTER) [5:31]
[e] A5. KISS IT OFF (2023 REMASTER) [2:56]
[f] B1. FOOL YOURSELF (2023 REMASTER) [3:10]
[g] B2. WALKIN’ ALL NIGHT (2023 REMASTER) [3:35]
[h] B3. FAT MAN IN THE BATHTUB (2023 REMASTER) [4:29]
[i] B4. JULIETTE (2023 REMASTER) [3:20]
[j] B5. LAFAYETTE RAILROAD (2023 REMASTER) [3:40]
[k] C1. TWO TRAINS (DEMO) [3:19]
[l] C2. FAT MAN IN THE BATHTUB (DEMO) [3:56]
[m] C3. WALKIN’ ALL NIGHT (ALTERNATE VERSION)* [3:40]
[n] C4. ROLL UM EASY (ALTERNATE VERSION)* [2:36]
[o] C5. ON YOUR WAY DOWN (ALTERNATE VERSION)* [5:57]
[p] D1. ELDORADO SLIM [4:42]
[q] D2. JULIETTE (ALTERNATE VERSION)* [3:34]
[r] D3. HI ROLLER (ACE IN THE HOLE) [3:27]
[s] D4. DIXIE CHICKEN (ALTERNATE VERSION)* [4:06]
[t] E1. TWO TRAINS (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [3:23]
[u] E2. GOT NO SHADOW (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [6:35]
[v] E3. ON YOUR WAY DOWN (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [6:26]
[w] F1. WALKIN’ ALL NIGHT (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)*[3:34]
[x] F2. FAT MAN IN THE BATHTUB (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [5:31]
[y] F3. WILLIN’ (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [4:31]
[z] F4. A APOLITICAL BLUES (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [3:33]

First ever commercial releases of New Orleans’ legend Alvin Batiste’s Spiritual Jazz albums created with the college band he instructed and led in Baton Rouge - Goes To Africa With Love and Live at The 1971 American College Jazz Festival Originally given away as souvenirs at Southern University, these albums contains deep Batiste originals and are some of the most sought after albums of Americas 70s jazz underground.

Each album contains extensive booklet detailing Batiste’s life and his time spent honing and recording this remarkable band of young students. Goes To Africa With Love was mixed from the original multi-track tapes and is now presented as a 2xLP with never-before-released instrumentals.

That one of the great Spiritual Jazz albums of the era could be found in duplicate New Orleans thrift store in the 1980s goes a long way in illustrating the lack of acclaim this special and overlooked album maintained, even in a city where the Batiste name is musical royalty. The Southern University albums Alvin Batiste offered the world were novelies, not worthy of serious consideration, a moment captured, but not necessarily worthy of being collected or preserved by anyone not immediately involved in its creation. That changes now.

With the release of the two Southern University albums, Now-Again continues a conversation begun with the late Kashmere Stage Band director Conrad O. Johnson and the issue of his high school students’ music as Texas Thunder Soul, and the continued belief that beautiful music created by youth - even under the most adverse circumstances - can always inspire us.

Back in 2018, two mysterious twelve-inch singles appeared in underground record sthops. Credited to Blotter Trax, a previously unknown outfit who cherished “faceless” anonymity, the pleasingly twisted and mind-altering music on show was a mutant form of electronic psychedelia. The included tracks were variously informed by analogue techno, acid, electro and minimal, but inhabited their own clandestine sonic space. These tracks were, we later discovered, lightly edited “straight to tape” jams, crafted on the fly by their creators in one of Berlin’s most admired studios.

By the time Blotter Trax delivered their follow-up on Clone offshoot Frustrated Funk a year later, the secret was out: the project was in fact a collaboration between two storied artists, techno titan Magda – a DJ/producer who should need little introduction – and serial underground aggravator (and man of many aliases) Jay Ahern, sometime Hauntologists member and acid techno royalty thanks to years spent releasing similarly shadowy EPs as T.B Arthur.

In the years that followed, and before the COVID-19 pandemic grounded them in Berlin, the pair took their incendiary, modular-driven live show to esteemed clubland institutions (Fabric included), on an acclaimed tour of Japan, and onto the stages of festivals across Europe.

Four years on from that appearance on Frustrated Funk, Blotter Trax are back in updated and expanded form. Now a trio thanks to the addition of bassist Hannes Strobl, the band is set to release their far-sighted, funk-fuelled debut album, Super Conductor – a pulsating, thrill-in-minute ride includes contributions from a swathe of notable guests (Nina Hynes, Ilhem Khodja and David Moss provided vocals, Shigeru Tanabu played guitar, Matthew Styles mixed the set and old friend John Tejada mastered it).

While rooted in electro and acid, the album is impressively low-slung, stylish and funky, with nods towards Blotter Trax’s mutual love of Arthur Russell, early ‘80s NYC downtown disco, leftfield new-wave pop and flash-fried punk-funk. Released by JD Twitch’s Optimo Music imprint, it charts the ongoing dancefloor evolution of a band whose days of mystery and mischief are now a distant memory.

100-150 TRANSPARENT ORANGE / BLACK VINYL EDITIONS Sunfruits are pleased to announce their forthcoming debut album, One Degree. In high anticipation ever since the Melbourne/Naarm band released their Certified Organic EP in 2020, the album sees their most mature and conceptual songwriting to date. As heard in recent singles ‘End Of The World’, ‘Believe It All’ and ‘Made To Love’, the album showcases Sunfruits’ knack for writing memorable pop songs and their desire to use their music for good. The album is filled with anthemic choruses, melodic psychedelia, harmonious ballads and danceable indie pop, interplaying with potent lyrical messages of hope and despair. Through the album’s 11 tracks the band explore environmental collapse, resilience, self-reflection, love and relationships, all textured with a coming-of-age feel. On their debut album One Degree, the band presents new-age, anthemic psychedelia and indie-pop, similar to MGMT and Pond. The album’s memorable guitar hooks and garage-rock grit nods to artists such as Ty Segall and 70s glam-rocker, T. Rex, while the album’s softer moments echo the cinematic folk of Weyes Blood. Sunfruits take this eclectic mix of influences and create something uniquely their own, branded by euphonious four part vocals that have become a big part of their new sound. One Degree lets the listener sit with their feelings and encourages them to experience the rawness of human existence — highs, lows and the in-betweens. Touring UK/EU in September, including a date at the Manchester Psych Fest.

Das hat eine Wucht, es ist unberechenbar, bringt Vertrautes zusammen und löst es wieder auf. Es mischt die Karten neu: Das 1973 geschriebene Stück »Stay on It« von Julius Eastman (1940-1990) stellt die Koordinaten der Avantgarde-Musik auf den Kopf. Es ist Minimal Music, aber es groovt unverschämt; es öffnet sich für Improvisation, räumt den Interpreten alle Freiheit ein, die sie brauchen, aber es ist kein Jazz, es gleitet auch nie ins Unverbindliche. Haben sich die Musiker einmal an die Disziplin gewöhnt, den Groove angenommen, den Eastman von ihnen verlangt, öffnet sich ihnen ein weitverzweigtes Feld neuer Verbindungen, die zu erhabenen klanglichen Vereinigungen führen.

repress !

Striking back the way we like it.

With a primitive approach the duo Fractions initiates this ritualistic 12" with a hyper-disco trance induced big room smasher.

As it follows Lars Huismann burns it with a tune that could be directly extracted from a 2000's mighty label like Primate, danger funk alert.

Heavily influenced by the present music the hit of this record has a name, She Won't Make Me Sad. Jheal Bashta pushes once again the limits of the urban music transforming this trap track into a unique piece of dance floor techno music not easy to forget. Sang by his brother Metal Fence.

Closing the issue Kontain's Paradox, will melt the heart and the shoes of those who can still on the dance floor (one of the tracks that I've been playing in the last parts of my sets lately the most).

Discoteca Neanderthal for disc-jockeys and collectors.

Next up is an overdue reunion with a familiar face. After his outstanding contribution to Cocoon Compilation S and his first solo EP on Cocoon Recordings, Raxon is back with a more than equally fascinating sound. The Egyptian-born and now Barcelona-based artist is back on it again, delivering two tracks that will take you on a journey through the depths of robotic soundscapes.
Intricate beats, hypnotic synthesizer melodies, deep bassline grooves, and distinctive EFX sounds create Raxon’s very special signature sound.

Straight drum programming paired with chirping percussions takes us away to embark on a travel through space and time while distinctive claps poke through a futuristic nebula of floating and shifting sequences. The twisted melody of “Robotalia” carries us to a parallel dimension of machine sound and if you listen closely, you can hear the robots’ screwing and sawing. Warping bleeps and mechanical effects complete the robotic feeling. Raxon’s understanding of structures and architectural abilities are reflected through the arrangement, slowly increasing to ecstasy.

“Kryptonite” scores with alien soundscapes. Stuttering vocals are the questions, while futuristic and dramatic chord stabs are the direct answer. A straight, radiant sound appears as an electronic trombone from outer space, offensively supporting the driving bassline. The symbiotic interplay between the euphoric synthesizer hook line and the relentless beat with pushing sharp hi-hats visualize powerful images in one's mind's eye. Suddenly the beat stagnates and results in a morphing break going head over heels developing a start-stop pitch effect that not only builds up tremendous tension but also bears an increased risk of melting your brain. We just love tape delay!

Repress!

One of the gems on the smash hit album 'Soulmatic', Purple Disco Machine & Boris D'Lugosch's, 'Love For Days' gets the remix treatment three ways.

First up the master Kenny Dope - crisping up that shuffling rhythm with some added percussion and synthesiser arps to turn what was already a peak time soulful anthem, into a close to 8 minute extended journey drawing you in more and more with each build up and breakdown. Next up the PDM offers up an extended mix of the original, a welcome sight for those DJs on the club scene who have been rinsing this since the album dropped last year.

Finally, Motez takes you into raunchy, r&b tinged, garage territory, really honing in on Karen Harding's incredible vocals whilst incorporating brooding pads and sweeping fx's to create a special twist on the original.


DJ Support:

Aeroplane (Aeropop / Eskimo Recordings), Klingande / Kungs / Michael Calfan c/o (Unity Group Promo Sorter), Autograf (Counter Records), Treasure Fingers (Psycho Disco! / Fool's Gold), Malente (Southern Fried Records), Satin Jackets c/o (Eskimo Recordings / N.E.W.S.), Eric Sharp (9G Records), Gregor Salto c/o (Spinnin' Records), DJ Blake Jarrell (Armada Music), Jerome Price (Throne Room Records), DJ Licious (Spinnin' Records), Travis Emmons (Weapons Music), Electronic Youth (KMS), Solidisco (Fool's Gold / Ultra) :: Mark Knight c/o (Toolroom Knights), Mike Mago (Boemklatsch), Muzzaik (Spinnin' / Toolroom), The Disco Boys (We Play Music), Trevor Mac (Jalapeno Sound System), Ferdinand Weber (Spinnin' Deep), LCAW (Ultra), Plastic Plates (Sweat it Out), Mark Lower (Nurvous), Don Diablo c/o (Axtone / Spinnin' Records), Eton Messy, Après (Love & Other Records), Spada (Ego Music / Hysterical), Eelke Kleijn (Spinnin' / Suara), Horsemeat Disco (Strut Records / K7! Records), Horsemeat Disco (Strut Records / K7! Records), Adriana Lucia (Get Physical), Broc Roc (Dj B-Roc of The Knocks), Chordashian (Mullet Records), Hector Romero (Saw Recordings), Just Kiddin (Nervous Records)

Idris Elba c/o (Connaisseur Records / 7Wallace), Klingande / Kungs / Michael Calfan c/o (Unity Group Promo Sorter), Shiba San c/o (Suara / CUFF), Malente (Southern Fried Records), Rudimental (Asylum / Big Beat), Sirus Hood (Under No Illusion / Dirtybird), Marc Spence (This Ain't Bristol / Skint), Martin Solveig c/o (Spinnin' Records), Horsemeat Disco (Strut Records / K7! Records), Riva Starr c/o (Hot Creations), Mike Mago (Boemklatsch), Kokiri (Love & Other), Fred Falke (Work It Baby Records), Claptone c/o (Exploited), Roger Sanchez (Stealth Records / Astrx), Don Diablo c/o (Axtone / Spinnin' Records), Icarus (FFRR / SubSoul), Pezzner (Dirtybird), Jourdan Bordes (Phonetic Recordings), Mahalo (Toolroom / Bunny Tiger), AC Slater (Night Bass), Chordashian / Felix Feygin (Mullet Records), Fei-Fei Wang, Kristina Sky (Ultra / Armada), Thee Cool Cats (Toolroom / Bunny Tiger), Solidisco (Fool's Gold / Ultra), Infected Mushroom c/o (HOMmega Productions), DJ Blake Jarrell (Armada Music),Travis Emmons (Weapons Music), Human Life (LIFEX / Exploited), Treasure Fingers (Psycho Disco! / Fool's Gold), Hector Romero (Saw Recordings), and Danny Howard (BBC Radio 1 / Nothing Else Matters)

180g double LPs, 45 RPM. Hot off the back of this year's critically-acclaimed new album 'New York City', Brooklyn punk institution The Men are back already with a Fuzz Club Session album due out digitally and on limited double LP vinyl June 23rd. Recorded live to tape at Brooklyn's Serious Business Studio by Travis Harrison, the live session sees the Men storm through three tracks from 'New York City', one from 'Devil Music', a cover of English punk band Blitz and nine-brand new tracks that have never seen the light of the day until now, ranging from blistering noise-rock and cathartic rock'n'roll to lo-fi country-rock and hypnotising drones. This is the 20th release in the Fuzz Club Session series from London-based label Fuzz Club, which has previously hosted the likes of A Place To Bury Strangers, Night Beats, Holy Wave, The Entrance Band and more.

After a year of scheming and crafting, building and destroying, Maisie Peters is ready to share what she’s been conjuring up – her brand new album ‘The Good Witch’, arriving via Gingerbread Man Records/Asylum on June 16th.

Recently heralded by vulnerable lead single, ‘Body Better’, Maisie’s second studio album ‘The Good Witch’, is the official follow-up to her No. 2 BRIT Breakthrough certified debut, ‘You Signed Up For This’, and in many ways the older, wise and scorned counterpart.

Exhibiting a newfound confidence, sharper storytelling and greater artistic ambition, Maisie created ‘The Good Witch’ across London, Suffolk, Stockholm, Bergen and LA, alongside the likes of, Oscar Görres (Taylor Swift, Troye Sivan), Two Inch Punch (Sam Smith, Jessie Ware), Matias Tellez (girl in red), Brad Ellis (Jorja Smith, Little Mix), Joe Rubel (Ed Sheeran, Tom Grennan) and Elvira Anderfjärd (Tove Lo, Katy Perry).