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The new album is ready and it’s the best! Cornell says “This is more than an album to me…. It is an up close and personal expression of the many things that move me in life and how I feel about life, love and all the things I value most. The love that went into making this album is without question a collaboration of great musicians and producers who put their Souls into it. No matter what your mood is, there is a song on this album that will relate to all of the different emotions we experience Every Day!”
The first single from this album was “The Change”, released earlier in the year ahead of the massive new song “Everyday”. The album is coming 26th July on CD and will be followed up with a vinyl release (of selected tracks) 23rd August.
Cornell is from Berkeley, California and raised in San Francisco where his debut album “Vindicated Soul” was released in 2017. Since then he has taken the soul scene by storm through further prolific albums “One Love”, “Absolutely” and “Next Life”. Earlier in his career he recorded with The Isley Brothers and performed on stage with James Brown. Cornell performs songs from the album for the first time at The Sussex Soul Weekender Friday 2nd August.

Private Joy?! With a namesake derived from the mighty Prince’s catalogue, and its lustful connotations, Private Joy is the producer of soul band Lovescene and a supreme vocalist of the Manchester scene. With collaborations working with the likes of Ruf Dug, Finn, and Lenzman, a solo EP was inevitable and a statement this is.

Pops Roberts’ first solo EP debuts on Rhythm Section INTL bringing together influences from Streetsoul, 80s ‘babymaker’ RnB records and a slice of 00s soulful house in there for good measure. In just over 18 minutes, Private Joy welcomes you into her world of sensuality and soulful warmth. Musical hugs galore, the production balances synths, harps, saxophones, tight beats and meaningful lyrical content; eschewing millennial whoops for Sade indebted dulcet tones.

Each track draws from personal experience; be it heartbreak or reconnection, an emotional diary
conveying the trials and tribulations of love, loss and ultimately, desire.

“Desire has been the drive and beginning of so many decisions, highs and lows in life...” - Private Joy

You may recognise this fine fellow as the bass player for such acts as Spoon, Lee Fields' Expressions, Reigning Sound and The Jay Vons. Or perhaps you've heard the man himself wailing away on several well-received 45's released on Wick Records and compiled on the digital EP 'Hey Lovers'.

With 'Do You Still Think of Me?', his debut album for Wick Records, Trokan takes the listener through the full spectrum of 60s influenced music: the moody teen-beat bop of 'Save a Place', the garage dwelling angst of 'Nowhere to Be Found', to the sweet soul sound of the title track. But throughout the records, it's the unique sound of Benny's raspy, vulnerable lead vocal that carries us across this truly stunning collection of modern pop. 'Do You Still Think of Me?' is a breath of fresh air from a well-seasoned veteran. Unquestionably worth the wait.

You may recognise this fine fellow as the bass player for such acts as Spoon, Lee Fields' Expressions, Reigning Sound and The Jay Vons. Or perhaps you've heard the man himself wailing away on several well-received 45's released on Wick Records and compiled on the digital EP 'Hey Lovers'.

With 'Do You Still Think of Me?', his debut album for Wick Records, Trokan takes the listener through the full spectrum of 60s influenced music: the moody teen-beat bop of 'Save a Place', the garage dwelling angst of 'Nowhere to Be Found', to the sweet soul sound of the title track. But throughout the records, it's the unique sound of Benny's raspy, vulnerable lead vocal that carries us across this truly stunning collection of modern pop. 'Do You Still Think of Me?' is a breath of fresh air from a well-seasoned veteran. Unquestionably worth the wait.

Lavender Vinyl. In the late 1970s, a peculiar sound began bubbling up from the land of 10,000 lakes. Buried beneath 50 solid inches of annual snow, Minneapolis made a Sound quite different than what the pop world foresaw. It issued forth as a slick, black, technologically advanced fusion, poised to storm the charts. Never known for sizable African-American populations, the Twin Cities of Minneapolis and St. Paul in fact harbored a tight-knit community of musicians working feverishly through the late '70s and early '80s toward a radical manipulation of American dance music, coating futuristic funk with the glamorous sheen of guitar rock. Synthetic ebony and ivory met electricity, with sexed-up results sent shockingly across the pop heavens like violet lightning.

‘The Oakland band’s wide-ranging debut is a whirlwind of biting critique, nervy post-punk guitars, and absurdist humor. Rarely does a first record speak with such a trenchant voice.’ 7.5 PITCHFORK
‘Post-punk lovers have a new act to follow" - PASTE
Fake Fruit’s visceral indie rock operates so firmly in the present that it’s transportive and unmooring. The Oakland trio’s songs careen with volatile energy and lead singer Ham D’Amato’s lyrics are enveloped with acerbic humor and resonant perceptiveness. Though their new LP Mucho Mistrust is a sly reference to a beloved Blondie lyric, the title encapsulates both the anxieties of daily life, a bloodless music industry, and global capitalism as well as the clear-eyed skepticism needed to rebel against it. Across 12 propulsively unpredictable tracks, the album is both their most collaborative and most immediate yet.
Following the 2021 release of Fake Fruit’s self-titled debut LP, the band’s personal lives hit a turbulent and transformational period. “There were big life changes and I was so close to boiling over,” says D’Amato. “I left a bad relationship, entered a more stable and loving one, got diagnosed with alopecia, and I'm turning 30 soon too.” This personal upheaval was channeled into the explosive lead single “Mucho Mistrust.” The track is simultaneously disorienting and direct, with clanging guitars from Alex Post, off-kilter drums from Miles MacDiarmid, and D’Amato snarling, “How you gonna blame me / when you could’ve done something about it / it’s not right / How you gonna marinate me / in shitty things overnight.” She explains, “This song was a snapshot of how I got through a difficult year.”
Recorded live at the Bay Area’s Atomic Garden studio with producer Jack Shirley (Deafheaven, Home Is Where), the band’s palpable ferocity shines throughout the record. Single “Más o Menos” is searing punk, with buzzsaw guitars and surging bass. It’s a clenched-fist song, one where D’Amato sings, “I decided to assert myself / After I lost all my sense of self.” Later in the track, D’Amato, who is Chicana, sings in Spanish, “¡No me hables! / ¡No escuchare!” While some of these songs deal in heartbreak, they are charged with way bigger themes. “There's also wanting to break up with capitalism and feeling upset about things politically,” says D’Amato.
For the band, these themes are personal. “I'm managing us while I'm in between changing diapers in my day job as a nanny,” says D’Amato. “Everyone in the band still believes in it and is motivated to keep wading through the bullshit.” On this album, they had no choice but to bet on themselves and each other. No track broadcasts their evolution better than the single “Cause of Death,” which morphs from a gorgeous sax-laden banger to something cathartic and anthemic.
As adventurous and righteous as Mucho Mistrust gets, there’s still an inviting core that never takes itself too seriously. From the ripping “Cause of Death,” which self-deprecatingly takes aim at anxiety and indecision, to the searing title track, Fake Fruit imbue their songs with humor and heart. “Our band is fun,” says D’Amato. “My number one coping mechanism for all of life is to joke about it. Even when the album talks about serious things, I am proud of how funny it can be.”

The musical "Young, Gifted and Broke", written by Weldon Irvine as writer, musical director, and full lyricist/composer, was originally released in 1977. The musical was inspired by the Black Civil Rights anthem "Young, Gifted and Black," which Weldon wrote with Nina Shimone. The recording session brought together a group of talented musicians, including Marcus Miller, whose name had not yet reached international prominence, to breathe new life into Weldon's distinctive inserts. The recordings were discovered in the early 2010s and released on CD in 2012, and P-VINE is proud to be the first in the world to release them on vinyl!

American English is the second studio album by British new wave band Wax, which consisted of Andrew Gold and 10cc band member Graham Gouldman. The two got together after 10cc split up in 1983 and released a total of three studio albums, including the 1987 American English. The album grew into their most successful effort, largely due to the hit single “Bridge To Your Heart”, which charted in the top 10 in many European countries and remains their biggest hit to-date. The album spawned two more singles; “American English” and “In Some Other World”. The album’s front cover was designed by Storm Thorgerson, who is best known for closely working with Pink Floyd, in addition to Led Zeppelin, Black Sabbath, and Def Leppard among others. American English is available as a limited edition of 1500 individually numbered copies on pink & purple marbled vinyl and includes an insert.

Action Speaks Louder Than Words is the 1975 debut album by Chocolate Milk, a funk and soul band from New Orleans. The band emerged in the mid-1970s and quickly gained recognition for their unique sound that blended the rich musical traditions of their hometown with the influences of contemporary funk and soul. The band was discovered by producer Allen Toussaint, a legendary figure in New Orleans music, whose influence is evident in the polished arrangements and the band's tight, cohesive sound. The album's themes of social awareness and personal reflection, combined with its infectious grooves and skilled musicianship, have ensured its lasting appeal. Also due to the single and title track ""Action Speaks Louder Than Words"", which charted well and was later sampled by numerous artists, including Public Enemy, Eric B. & Rakim, Aaliyah, Neneh Cherry and Toni Braxton feat. The Notorious B.I.G & Puff Daddy, cementing its place in music history. Action Speaks Louder Than Words is available as a limited edition of 500 copies on red coloured vinyl.

Living Deathrock Legend of Manila, EAZYHEAD, is coming out of its Personal Echo Chamber. Recorded in a week in 2020, at the start of the universe’s second Black Plague. Similar to our now digital age of net prophetry, No phones are allowed entry. A sleep deprivation tank won’t have room for a journey like this one. EAZYHEAD will blow your mind, touch your soul, and massage your head, in an explosive lobotomy, as he tries to do the same, to himself. Like the trendy poser EAZYHEAD is, the prolific artist has decided to hide this 45 minute LP until it is conjured by the universe, to finally be heard by anyone who wants to enter the chamber. It has now been summoned by Oliver Ackermann of A Place To Bury Strangers/Death By Audio’s new label, Dedstrange. The entire 45 minute Ectoplasmic Fuzzy Washy Mind Halo Debut LP that will circle all your senses, Personal Echo Chamber is coming out soon and will be bouncing around everywhere, on vinyl stores near you and only on, Dedstrange.

Miles At The Fillmore - The Bootleg Series Vol. 3 features four historic perfor- mances from the Fillmore East and West in 1970, at a time when Miles Davis was single-handedly bringing jazz into the commercial rock era.

The visionary Bill Graham had booked Miles on a bill with The Grateful Dead at the Fillmore West and with fellow Columbia artist Laura Nyro in June 1970. The latter recordings are the earliest documented live performances of Miles’s band when he hired the keyboardists Chick Corea and Keith Jarrett, along with saxophonist Steve Grossman who had replaced Wayne Shorter. The rest of the rhythm section - bassist Dave Holland, drummer Jack De- Johnette and percussionist Airto Moreira - were the backbone of his band throughout this explosive period.

Curated by Carlos Santana, this set features fascinating firsthand accounts and profound insight into a seismic shift in American society, music, and culture. In a rare, in-depth interview, Miles was “so excited about the music that he wanted every set, every note made available to the public...” The searing heat of these concerts, originally issued in severely edited form, are now made whole. This set includes several bonus tracks like Wayne Shorter’s “Paraphernalia” and “Footprints”, an early version of “Miles Runs The Voodoo Down” plus a rare encore performance of “Spanish Key” from the Bitches Brew album.

The Bootleg Series Vol. 3: Miles At The Fillmore is available as a deluxe 6-LP boxset, housed in a lift-off box. This 6LP-set includes printed inner sleeves and a 12-page booklet with extensive liner notes and rare photos.

Joe P returns this August with his new album; Garden State Vampire.

When the onset of the pandemic brought about the dissolution of the band he’d fronted since eighth grade, Joe P found himself in isolation with time to step out and experiment on his own. From the refuge of his New Jersey basement studio, he threw himself into writing, recording and producing his most personal material to date. Posting homegrown ideas to TikTok, Joe P watched as his raw acoustic videos drew millions of views and over 300K followers in just a few months. Among those new fans was Apple Music’s Zane Lowe, who kicked Joe’s career into hyperdrive by duetting alongside his self-made “Fighting In The Car” video (streaming HERE). A deal with Neon Gold/Atlantic was quickly followed by the acclaimed release of Joe P’s acclaimed debut EP, Emily Can’t Sing, highlighted by such singles as “Leaves,” “Fighting In the Car,” and “Off My Mind,” the latter of which went #1 at Triple A radio outlets nationwide.

Joe P has been on a roll since his 2022 project French Blonde - which was heralded by the anthemic “Happy People,” and includes the pulse-pounding title track, “French Blonde,” joined by an official live performance video, directed by longtime visual collaborator Anthony Yebra. The video for “French Blonde” can also be seen as part of the opening scene of Joe P’s short horror film, “If We Run,” starring Michael Gandolfini (The Many Saints of Newark), Kevin Interdonato (The Sopranos), and Joe P as himself.

There are ghosts all across AVANTI, the debut album from Malice K. At points it's howling and unhinged, a grungy layer atop a lush foundation of melodic capital-s Songwriting, but in other moments it dissolves into a gentle, wistful haunting. Malice K's songs are blunt, uncomplicated and unflinching as he probes the interiority of memories, of mistakes - saturated with an innate intensity that sucks you into his gnarled and visceral world, so barbed it could draw blood. Malice K is helmed by visual artist and songwriter Alex Konschuh, New York-based but born and raised in Olympia, Washington. Following a stint living in Los Angeles, where he became a member of the artist collective Death Proof Inc., a trip to New York resulted in him simply never leaving the city. A period of chaos ensued, Malice K exhausted and unmoored and ultimately, unwell. The record is unpredictable across its 11 songs. The album opens with a jarring scream on "Halloween," Malice K's breathless vocals buried beneath a grungy, roving Nineties riff. The track emanates a manic energy, enveloping. It's a fitting entrypoint for the record, and for the vividness of Malice K. The snarling and obsessive "You're My Girl" has a swaggering paranoia: "I got so high I thought my hand touching my hand was your hand." But AVANTI exists in quieter moments too; "Radio," with its fluttering morose cello, moves at an almost glacial pace comparatively. The aching wistfulness of "The Old House" is an album stand-out, anchored in an acoustic guitar, an uneasy lullaby that never quite settles into itself: "I think to myself I got the things that I wanted, but I can't help think there's something else that I forgot to do." A recent press interview called Malice K a shapeshifter, but he's not amorphous in that way. He's decisive and intense, more concerned with carving his own path, and building his own world. Every part of Malice K is distinctly himself: from his sweaty high-octane shows to the high-flash high-contrast photos; from his gnarled and unsettling illustrations to the studio recordings that vacillate between grief and tenderness, there's an exceptional ferocity across everything Malice K touches. AVANTI feels lived in, like peering into an abandoned house through a window smeared with grimy fingerprints, relics of a life well-lived scattered inside - despite being a debut, there's the sense that Malice K arrived fully-realized, imperfections and all.

There are ghosts all across AVANTI, the debut album from Malice K. At points it's howling and unhinged, a grungy layer atop a lush foundation of melodic capital-s Songwriting, but in other moments it dissolves into a gentle, wistful haunting. Malice K's songs are blunt, uncomplicated and unflinching as he probes the interiority of memories, of mistakes - saturated with an innate intensity that sucks you into his gnarled and visceral world, so barbed it could draw blood. Malice K is helmed by visual artist and songwriter Alex Konschuh, New York-based but born and raised in Olympia, Washington. Following a stint living in Los Angeles, where he became a member of the artist collective Death Proof Inc., a trip to New York resulted in him simply never leaving the city. A period of chaos ensued, Malice K exhausted and unmoored and ultimately, unwell. The record is unpredictable across its 11 songs. The album opens with a jarring scream on "Halloween," Malice K's breathless vocals buried beneath a grungy, roving Nineties riff. The track emanates a manic energy, enveloping. It's a fitting entrypoint for the record, and for the vividness of Malice K. The snarling and obsessive "You're My Girl" has a swaggering paranoia: "I got so high I thought my hand touching my hand was your hand." But AVANTI exists in quieter moments too; "Radio," with its fluttering morose cello, moves at an almost glacial pace comparatively. The aching wistfulness of "The Old House" is an album stand-out, anchored in an acoustic guitar, an uneasy lullaby that never quite settles into itself: "I think to myself I got the things that I wanted, but I can't help think there's something else that I forgot to do." A recent press interview called Malice K a shapeshifter, but he's not amorphous in that way. He's decisive and intense, more concerned with carving his own path, and building his own world. Every part of Malice K is distinctly himself: from his sweaty high-octane shows to the high-flash high-contrast photos; from his gnarled and unsettling illustrations to the studio recordings that vacillate between grief and tenderness, there's an exceptional ferocity across everything Malice K touches. AVANTI feels lived in, like peering into an abandoned house through a window smeared with grimy fingerprints, relics of a life well-lived scattered inside - despite being a debut, there's the sense that Malice K arrived fully-realized, imperfections and all.

Leonardo Del Vita and vocalist Sabrina Anselmi, epitomized the sun-soaked italo grooves of the 1980s. This short-lived group unleashed only a handful of singles between 1985 and 1988.

Their debut single, “Sombrero” surfaced in 1985 as a promo-only 12” on the Roman label LGO, in exceedingly limited quantities, garnered relatively little attention.
Fast forward nearly four decades, it has become one of the most coveted Italo 12”s, fetching exorbitant sums in collector’s circles.

“Sombrero” stands out among aficionados of obscure Italo-disco, embodying a distinct vein: that of summer-themed tracks. With its tantalizing blend of airy arpeggios, Juno 60 synth lines and bass, punchy percussions adorned with claps, DX 7 cowbells and a seductive saxophone solo. “Sombrero” has it all to seduce new discerning listeners, also thanks to the infectious alternating vocals in English and Spanish, featuring hilariously sultry hooks such as “Te quiero, Sombrero!” or “I love muchachas!”

Disco Segreta fulfils another Italo disco dream by reissuing this absolute gem for a broader audience, presented in a meticulously remastered 12” edition featuring the original vocal and instrumental versions, along with the stellar “Estate Dub” by the Chilean-Swedish maestro of Italo-disco, Claudio Burgos, aka Mr. Fantasy, which we are sure will become an absolute dance classic.

Sombrero, te quiero!

Maggie Antone ist die neue timme im Alt-Country: Nachdem ihr Cover von Tyler Childers "Lady May" über eine Million Likes bei TikTok sammelte,
begann sie, an ihrem Debütalbum zu arbeiten.
Antones kommendes Album Rhinestoned mit zehn Songs ist ein überzeugender Beweis dafür, dass die aus Virginia stammende Sängerin das nächste
große Ding im Country sein könnte. Das Album, das auf ihrem eigenen Label Love Big via Thirty Tigers erscheint, baut auf dem durchschlagenden
Erfolg ihrer Debütsingle "Suburban Outlaw" auf. Auch wenn ihre Stimme einen in ihren Bann zieht, so ist es doch die Verletzlichkeit ihres
Songwritings, die einen immer wieder zurückkommen lässt.

Mute veröffentlichen am 23. August das Album 'The Third Mind Movements' der britischen Avantgarde-Helden Throbbing Gristle erstmals offiziell auf CD und LP.

Die 1975 gegründete Band Throbbing Gristle, bestehend aus Chris Carter, Peter 'Sleazy' Christopherson (1955-2010), Cosey Fanni Tutti und Genesis Breyer P-Orridge (1950-2020), löste das gescheiterte Versprechen des Punk ein, extreme Kultur als Mittel zur Sabotage von Kontrollsystemen zu erforschen. Ihr Einfluss auf Musik, Kultur und Kunst ist unermesslich und bis heute spürbar.

'The Third Mind Movements' von Throbbing Gristle erschien zunächst als exklusive Veröffentlichung, die nur auf der letzten Amerikatournee der Band im Jahr 2009 erhältlich war, bevor sich die Band 2010 wieder trennte. Das Album ist eine Reise durch manipulierte, zeitlich gestreckte und verzerrte Samples, mit rhythmischen Breakbeats und hypnotischen Elektronikschwingungen.

The third studio album "Pyramid" by The Alan Parsons Project was originally released in May 1978. As with other APP albums, the focus was on very high-quality studio sound production. "Pyramid" was a worldwide hit, achieving platinum and gold status in numerous territories including the USA, Germany and Canada. Limited edition 180g Heavyweight Clear Vinyl LP Half speed remastered by Miles Showell at Abbey Road studios.

Leif Maine and Jackson Mathod are thrilled to announce the August release of their album, "Volte-Face", with a single of the same name. This collaboration marks a bold new chapter in contemporary jazz, blending traditional and modern elements with great artistry and a willingness to explore many genres on one project.

"Volte-Face"is a sonic journey that showcases Maine's innovative compositions and Mathod's masterful trumpet performances. The album features a rich tapestry of sounds, from soulful melodies to intricate improvisations, capturing the essence of their dynamic synergy. Each track is meticulously crafted, promising an immersive listening experience for audiophiles and jazz enthusiasts alike.

Volte Face, the single, features rapper and Washington DC transplant (born and raised in NY), J Scienide. J has been around the great in underground Hip Hop. He shared a manager with the late and great MF DOOM, released and recorded with D-Styles from the World Famous Beat Junkies/ Invisibl Skratch Piklz, worked with super producer Daringer (Griselda Records/Action Bronson). He is regularly supported by FunkMaster Flex, Peter Rosenberg, Dj Premier, Dj House Shoes, Statik Selektah and many more.

WRWTFWW Records is wonderfully proud to announce the long anticipated official reissue of Chrysalide (1978), the sole album from French multi-instrumentalist and enigmatic genius Michel Moulinié. The krautrock/ambient/minimalism paragon is available as a limited edition LP with one never-heard bonus track. It is sourced from the original reels and housed in a heavy 350gsm sleeve.

Originally released in 1978 on Ange and Jean-Claude Pognant's mythical prog rock label Crypto,
Chrysalide is a fusion of minimalist meditations, cosmic soundscapes, and ambient with a human warmth, carried by a profoundly beautiful and unique use of twelve-string guitar, bass, and violin.

Ideal for an introspective listening experience, the hypnotic Kosmische Musik of Michel Moulinié belongs to the same psychedelic family as Manuel Göttsching’s Inventions For Electric Guitar, Mike Oldfield’s Tubular Bells, early Tangerine Dream, and Steve Hillage’s innovative guitar mastery. WRWTFWW listeners might also be reminded of the label’s seminal French release, Dominique Guiot's L'Univers de la Mer, which makes a great spiritual pairing with Chrysalide.

Escape into the vast universe inside yourself :

Across the vast expanse of the cosmos we approach a shimmering satellite globe. Entering its orbit in a hypnotic swirl our eyes peer closer and closer to the glowing sea below. We land near an intertidal zone wondering what enchants this world and its waters.

Coral Morphologic’s first album took us on a journey through space. Now with their sophomore LP we arrive at our destination, an aquatic world teaming with life.

*features a foldout poster with album art by Robert Beatty*

Across the vast expanse of the cosmos we approach a shimmering satellite globe. Entering its orbit in a hypnotic swirl our eyes peer closer and closer to the glowing sea below. We land near an intertidal zone wondering what enchants this world and its waters.

Coral Morphologic’s first album took us on a journey through space. Now with their sophomore LP we arrive at our destination, an aquatic world teaming with life.

*features a foldout poster with album art by Robert Beatty*

Little Hag zeigt das breit gefächerte Songwriting von Avery Mandeville, deren bissige und nachvollziehbare Songs eine Welt beschreiben, die so kompliziert ist wie die, in der wir leben. Mit Hilfe von 8 Produzenten aufgenommen, in Wohnungen von Freunden bis zu den Headroom Studios in Philadelphia, liefert sie Punkrock-Knaller, tiefe Disco-Tauchgänge, Fackellieder, Folk-Balladen und vieles mehr. Die Bandmitglieder sind seit ihrer Teenagerzeit befreundet und haben sich gemeinsam zu einer wilden Rockband entwickelt.

VERVE ACOUSTIC SOUNDS SERIE: Stereo, komplett analog von Ryan K. Smith bei Sterling Sound von
den Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing),
wattierte Innenhüllen.
Nach ”The Look Of Love” erscheint mit “When I Look In Your Eyes” jetzt ein zweites Diana-KrallAlbum als aufwändiges, audiophiles Doppel-Vinyl in der VERVE ACOUSTIC SOUNDS SERIE. Unter Regie
von Produzentenlegende Tommy LiPuma zeigte sich die Pianistin und Sängerin auf diesem Traumalbum
von zwei Seiten: einmal mit einem von Johnny Mandel arrangierten Orchester, dann wieder in intimerem
Rahmen mit wechselnden Duo-, Trio- und Quartett-Besetzungen. Das zeitlose Meisterwerk brachte Diana
Krall ihren ersten Grammy für das beste Jazz-Vokalalbum 1999 ein.

Electronic titan Sasha combines with Sentre for the latest in a series of collaborative releases. The release of 'Glastacy' coincides with this year’s Glastonbury festival and comes with something special for fans.

Even by his own high standards, electronic luminary Sasha is in a superb run of form that has already yielded some stellar singles in the last year, both solo and in collaboration with like-minded talents. TheGRAMMY Award-nominated artist is renowned for pushing musical and technological boundaries, as well as for platforming exciting sounds on his Last Night On Earth label. The next release finds him working with Sentre, aka Dave Gardner & Dennis White, who have been electronic mainstays for many years. They have plenty of major credits under their belts, including working with Sasha on his seminal ‘Involver’ album and also 'Track 10' which they made with Sasha many years ago. It was Pete Tong’s Essential New Tune at the time and is one of many gems from these self-confessed studio nerds.

The release of ‘Glastacy’ also marks a new approach for Sasha and LNOE as they extend their relationship with fans beyond just the music. For the first time, along with the single release, fans will be able to collect and own the single artwork for free. The label has always sought to marry together music and art across its releases and now fans get the chance to own a piece for themselves. Using pioneering technology, those who claim the art will also be able to convert it to a smartphone wallet pass which will bring with it future benefits and surprises from Sasha and LNOE.

'Glastacy' is their latest collaboration, and it works angelic, wordless vocal sounds into heavenly loops that shimmer in and out of focus. Deft hi-hits and a supple bassline bring movement as a lead synth motif rises up out of the mix to bring dramatic tension and take dancers to the stars. It's emotive, hypnotic techno of the highest order, with a spine-tingling breakdown leading towards more trance-inducing musical pleasures. The Intro:Outro Mix is an ambient tool stripped of beats.

Next up on Aris is a particularly special one - Ireland's first electronic music 12''- Carrier Frequency's Telecaster Man, a particularly Irish take on the acid house sounds of the late 80's, that still does the job 35 years later. ''A nine minute tune with two chords, it's just f-ckin' madness mostly - distortion and drum machines.'' simply put by one of the artist himself, but it's much more really. The record originally released in 1989 was a collaborative effort featuring the talents of Mr. Spring, Leo O'Kelly of 70's folk heroes Tir Na nOg, and Trevor Knight of 80s synth pop band Auto Da Fe, Mr. Spring, a veteran of pirate radio since his early teens and the local go to studio guy for dreamers and the Depeche Mode and Talk Talk clones of the time, spearheaded the project. Drawing from his extensive experience and technical prowess, Spring had already established his own studio in 1987, equipped with state-of-the-art gear including an Atari sequencer and an Akai s900 sampler. They decided to work together on it as Spring says ''We wanted to get a Cabaret Voltaire sound to it and have a bit of fun.'' Fueled by a shared passion for experimentation and sonic exploration and inspired by the dynamic energy of the club scene and the rapidly evolving sounds of electronic music, the late-night recording sessions in Spring's studio characterized by spontaneity and innovation. The result of their collaboration was ''Telecaster Man,'' a nine-minute tour de force combining distorted guitars, hypnotic rhythms, and pulsating synthesizers. The 12 inch comes with the original and Sinewave mixes plus a new Mr. Spring remix from the original multi tracks rounding it out with the replication remix and a bonus acapella. Full colour sleeve and comes with extended liner notes.

Repress!

Today – Friday 9th July – artist, producer, DJ and club culture icon Peggy Gou releases the second of a pair of summer singles. Released via Gou’s own Gudu Records, “I Go” is an incredible piece of club-focused electronic music and showcases a very different sound to previous single “Nabi”.

Described by The FADER as “the kind of dazzlement you get from light dancing off of ocean water on a hot day: pure dopamine activating bliss” and Resident Advisor as “a refreshingly low-key jam”, “Nabi” was an evocative piece of slow-burning, 98bpm electronic pop, inspired by 80s synth classics, the piano pieces of renowned composer Erik Satie and the 80s and 90s Korean songs Gou's mother used to play at home during her childhood.

“I Go” takes inspiration from a similar era but this time the energy comes from Gou’s love of 90’s dance anthems, many of which she revisited during lockdown and an enforced break from touring. Both retain the hallmarks of Peggy Gou’s unique take on electronic music; at once both nostalgic and totally modern. But on “I Go”, the tempo, 808s and 909s are dialled right up for a self-motivating anthem that is set to soundtrack a summer when we can all hopefully dance together in our thousands again.

Talking about “I Go”, Peggy says:

“When I was a teenager in Korea, we didn’t have rave culture like there was in the UK. “I Go” is a tribute to that era, my own reimagination of the sounds I grew up loving. The lyrics are inspired by a note I wrote on my phone in 2019, staring at myself in the mirror of an airport toilet – I looked so exhausted but there was no way I wasn’t going to keep going! “I Go” is basically me motivating myself, finding courage and returning to a feeling of innocence. I hope people feel the same sense of positivity when they hear it”

Meanwhile, Peggy Gou is set to make a handful of DJ appearances in Europe over the summer. These include a huge sold out London event in August in the form of The Pleasure Gardens; an outdoor party in Finsbury Park created and curated by Gou herself and featuring a stellar supporting line up including DJ Harvey, Anz and Spencer.

Track List:

From the furnaces of Stoke-On-Trent comes the super-limited debut EP from Formal Sppeedwear, a wonky new wave teacup ready to be sipped.

Taking creative cues from Brian Eno’s Oblique Strategies and Conny Plank’s experimental recording techniques to flesh out synthpop-oriented melodies, the EP stomps along with Scary Monsters-era Bowie guitar lines, early 80s Numan basslines and surreal lyrics - “Ready, set on my mark: Tesco Extra, Marks and Sparks” cries Clewlow on 6 Lofty Ash. There’s a versatility to the tracks; with the jolting staccato of The Line counter punched by EP closer and highlight Dismount’s soaring synth slow burn.

Defying the seas of young musicians moving to London and Manchester to find their path, Beck Clewlow (Bass, Vocals, Synthesisers) Charlie Ball (Guitar, synthesisers), and Connor Wells (Drums, Guitar, Synthesisers) stuck it out in Stoke, using the city as a blank canvas - devoting their spare time to writing and experimenting, building their own studio out of charity shop finds and cash-converter synths and recording equipment.

Out in the creative wilderness of Staffordshire there’s a healthy DIY scene brewing with bands waiting to make their mark; fly posting their own shows, making one-off merch for each gig, sharing lineups with one another. “There is no sense of geographical confinement here, there’s a wealth of talent who act indifferently to their surroundings. It’s particularly nice that some of our friends from here are starting to receive attention from elsewhere” say the band. As fellow locals University and Christian Music start to garner attention from the rest of the UK, it’s time for Formal Sppeedwear to follow suit.

Stoke-on-Trent might not be the first place you’d look to find your favourite new band - The Bootleg Beatles are one of its finest exports if you ask Google - but Formal Sppeedwear are here to show you the kilns are alright.

Brownswood Recordings are proud to present a brand new 12” series showcasing new remixes and old reworkings from the label’s rich back catalogue. Brownswood’s roots are nestled deep in the dancefloor; extended versions, edits, remixes and 12 inches, cut loud for extra bass-weight for club subwoofers, have always been part of the label’s repertoire. The Remix Editions is a new platform to showcase some of these tracks on wax for the first time, shining a light on exciting contemporary producers as well some of the forgotten club weapons from years gone by. Each drop will be on 45 & will be limited to 500 units - so grab them before they’re gone.

The first instalment in the series features two reworkings of South African pianist Bokani Dyer’s Ke Nako (feat. Sereetsi & The Natives).

Side 1 features Kid Fonque’s hypnotic and stretched-out house refix of Dyer’s scintillating funk track. He stretches Ke Nako into a 10-minute epic cosmic dance floor journey that perfectly manages to trace a line between the South African electronic sounds dominating the globe and the nation’s Jazz underground, bubbling below the surface.


a A1 Ke Nako (feat. Sereetsi and the Natives) Kid Fonque Refix
Ntokzin Remix

It's difficult to ''label'' the songs of this authoritative and necessary official reissue (after the shameful fake of 10 years ago). ''Zombi'' and ''In the Land of the Zombi'' are two electro disco-funks from 1979, therefore from three years before was born the ''Italo-Disco'' style, certainly more powerful, aggressive and more electronic than the ''Made in Italy'' disco style of the 2nd half of the 70s (Fratelli La Bionda, Pino Presti, Claudio Simonetti, Celso Valli and others.). The creation of the original 7" by Salvatore Ida, great musician and bandleader - to whom this excellent reissue is dedicated - was a sort of game for the authors of the two pieces: Federico Ida and Massimo Ida, were protagonists 4 years before of the Italian progressive rock scene with the sister Silvana Ida, Marcello Surace and Franco Vinci thanks to the immeasurable and acclaimed album ''Apoteosi''. So The Zombies were destined to pair with another easy '79 joke by the Ida brothers: ''Let's Go'' and ''Mustang'' by Sandwich, also reissued on 12inch by Best Record Italy. The Zombies comes out with the original artwork of the time, but in a full embossed picture sleeve and released in the classic black vinyl and on red vinyl with black shades (limited edition with red copies numbered manually (1/250: 2/250 and so on...) What else to add except that: the two long versions of ''Zombi'' and ''In the Land of the Zombi'' were re-edited by Massimo Berardi, always diligent and active, as well as tidy and aware of where he was putting his hands, are fundamental in order to complete this 12" fully remastered by Dom Scuteri.

Valuable reissue of slow Italo classic! Roberto Onofri, since he was a teenager, has developed his own culture independently. Whatever he liked to do, he immediately embodied it, instantly identifying with what he was passionate about. However, one certainly cannot expect the sixteen-year-old and self-taught disc jockey to be ready as a composer for his first time in a recording studio. He became an author, arranger and performer shortly after, but for his first experience on vinyl he had to resort to a cover, as many did to get noticed and have the limelight on him. There was no mistake in choosing 'Living with Passion'' by the Canadian band Moral Support, but only how to write the title of the piece on the album cover!!! At the time, not all Italian printers knew English well, which is why Italo Disco soon became sadly famous for the huge blunders that were written. It was love at first sight for Roberto, who played the song written and produced by Richard Cranford and Sandro Durante every night in the disco. There were some imperfections due to inexperience, but the electronics, more and more imperious and overwhelming, won over everything, effectively decreeing the beginning of a new musical style. The Italian one. Dave Mathmos did well to have the same passion as Onofri and his DJ Program Band, developing an excellent version that gave new life to the piece from 40 years ago, reprinted by Best Record in two different and limited editions, in black vinyl and in green vinyl with black shades. Both editions come out with the artwork and credits in relief and with the image of the very young DJ Onofri immortalized next to a drum kit with the microphone in his hand, ready as always to make people jump and have fun.

Valuable reissue of slow Italo classic! Roberto Onofri, since he was a teenager, has developed his own culture independently. Whatever he liked to do, he immediately embodied it, instantly identifying with what he was passionate about. However, one certainly cannot expect the sixteen-year-old and self-taught disc jockey to be ready as a composer for his first time in a recording studio. He became an author, arranger and performer shortly after, but for his first experience on vinyl he had to resort to a cover, as many did to get noticed and have the limelight on him. There was no mistake in choosing 'Living with Passion'' by the Canadian band Moral Support, but only how to write the title of the piece on the album cover!!! At the time, not all Italian printers knew English well, which is why Italo Disco soon became sadly famous for the huge blunders that were written. It was love at first sight for Roberto, who played the song written and produced by Richard Cranford and Sandro Durante every night in the disco. There were some imperfections due to inexperience, but the electronics, more and more imperious and overwhelming, won over everything, effectively decreeing the beginning of a new musical style. The Italian one. Dave Mathmos did well to have the same passion as Onofri and his DJ Program Band, developing an excellent version that gave new life to the piece from 40 years ago, reprinted by Best Record in two different and limited editions, in black vinyl and in green vinyl with black shades. Both editions come out with the artwork and credits in relief and with the image of the very young DJ Onofri immortalized next to a drum kit with the microphone in his hand, ready as always to make people jump and have fun.

After the first casual meeting at Lessinia Psych Fest 2014 (Maxigross festival in the Lessini Mountains) Miles managed to come back in Italy during spring 2015 to work with the band. In march 2015 they went together in the studio house of the band in the small mountain village of Vaggimal (Verona) to improvise and record one month straight, interrupting the sessions only for a few shows between Verona and Roma. They put few microphones around a big room in the house to catch the general sound in a Daniel Lanois’s style, and they played in the dark of the night without any light to forget the individual sound of each member, focusing only on the main sound of the Music. Miles brought from LA some recordings he made with drummer Joe Westerlund (Megafaun, Califone…) and, starting from that material, they begin to play on that. After these magical musical encounter they became close friends, sharing an house in Verona (Casa Tega), many albums, shows and life experiences, forgetting about these Vaggimal Sessions, that bring inside of itself the magic and the purity of any first meeting. These naked recordings are the only witness of this session.

Two great soul vibes from the master of funk, Mr James brown. First up from the There it is LP is one of favs "Never can say goodbye" i just love this groove and bass vibe. killer horn lines - S okin"

on the flip is another soul class from the man. "You took my heart" from the getta up offa that thang lp. it has such a lovely swing to it, loads of movment!!! essenal

x600 copies only

Second EP from Wishy, the new band from celebrated Indiana songwriters Kevin Krauter and Nina Pitchkites. "Mana" follows and continues their debut, "Paradise", which put on full display the songwriters' musical fluency while tastefully blending shoegaze, dreampop, and alt-rock into a heavenly haze and delivered a strong introduction that was dense with melodic earworms and stirring sentiment.

This compilation presents a selection of highly sought-after tracks and milestone classics crafted by esteemed Royal UK house producers.
Terry Francis, Nathan Coles (rip), Laurant Webb, Dave Coker and Justin Bailey.

With 16 tracks, many of which have never been reissued since their original pressings, fetching prices of hundreds of euros in the second-hand market (if you can find any in decent quality), while others were never released on vinyl. These are milestone classics, recorded and re-mastered directly from the original DATs for the first time.

This collection represents a pinnacle meeting of visionary minds who pioneered an entirely music genre, subsequently shaping the UK club scene with legendary Wiggle residency nights at iconic venues like Fabric. An essential and must-have album curated by Yossi Amoyal for Sushitech Records.

On 'Be Am' (now available only vinyl), Norwegian pianist, composer and
producer Bugge Wesseltoft has allowed his creative impulses to wander
where they may - no pre-set rules to govern the composition and
production, no obligations to (not) use electronics, not even a will to be
totally alone: this is pure playing and composition, where the music
speaks freely by whatever means it will
In the 25 years since Wesseltoft founded Jazzland Recordings, he has engaged in
numerous group projects and collaborations such as New Conception of Jazz,
duos with the likes of Sidsel Endresen, Henning Kraggerud and Henrik Schwarz,
one- off projects such as Trialogue, Bugge and Friends, and OKWorld! And of
course, the super- trio Rymden. However, it is in his solo material that we can
glimpse the true soul behind the effervescent and mercurial mind of one of the
most influential and important Norwegian musicians of an entire generation.
Many of the pieces here have the feeling of being wordless songs - indeed, no
words are needed when the notes convey all that is needed on tracks like "Tide"
or "State". The arrival of Håkon Kornstad on the track pairing of "Emergence" and
"Roads" shifts the mood from one of peace within solitude to peace within
company, the latter track being an understated dialogue, a musical soundtrack for
watching the world hustling and bustling, or sleeping its way towards a new day.
Tracks such as "Messenger", "Green" and "Be Am" throw more angular shapes,
musical shadow-play where unexpected progressions shift to moments of gospel
uplift before taking unanticipated shifts towards unexpected harmony. With "Life",
kalimba accompanied by birdsong loops, carrying us into a piece that takes
tentative but exact steps between positions, like tai chi in musical form.
"Sunbeams through leaves softly rustling" closes the album with that beautiful
Satie-like melodic simplicity that Bugge has made his own.

Since first splashing on to the Southern California circuit in the mid-aughts, Geneva Jacuzzi (née Garvin) quickly cemented herself as the queen of the Los Angeles underground. Her immersive and unhinged multimedia performances are the stuff of legend, a psychotropic gallery of masks, costumes, confrontation, and massive art installations. Jacuzzi’s recordings are equally revered, catchy hooks and cryptic moods dusted in 4-track grit. The arrival of her third official full-length, and Dais Records debut, is cause for such celebration. Triple Fire vividly expands and crystallizes Jacuzzi’s signature fusion of midnight melody and mutant aerobics across a 12-track hit parade of wildcard synth-pop and sly post-apocalyptic camp. Her enthusiasm for the album is as bold as her body of work: “Halfway through, we started calling this the record of the prophecy, the record that’s going to save mankind.”



Opener “Laps of Luxury” sets the template – a strobe-lit dreamer’s delight of swaggering synth bass, Haçienda drum machinery, and sultry vocal spellcasting (“Tragic mysteries I’ve known for centuries / I burned all memories and turned to fantasy”). The collection burns through shades of sardonic strut (“Art Is Dangerous,” “Nu2U,” “Keep It Secret”), coldwave kiss off (“Speed Of Light,” co-produced by Andrew Clinco of Drab Majesty), retro-futurist body music (“Dry,” “Scene Ballerina,” “Bow Tie Eater”), and cheeky glitterball pop (“Take It Or Leave It,” “Heart Full Of Poison” co-produced by Roderick Edens and Andrew Briggs). She likens the eclectic spectrum of moods to the continuum of human emotions: “Funny, sexy, sad, scary, witty, hopeful, menacing. Eventually it deconstructs, turns into a party, and then ends sweet and soft.”



Taken as a whole, Triple Fire comes as close as any document yet to capturing Jacuzzi’s kaleidoscopic alchemy of pop sugar and chaos energy, flickering between icy and ironic, chic and surreal, hungry and heartsick. Hers is a muse as rare as it is regenerative, forever reborn at the precipice of the next chorus: “Someone said that Alcatraz had fallen into the sea / Almost sounded like an angel calling me in a dream / I felt an electric shock when I picked up the microphone.”