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Has it really been seven years since the last The Number Ones record? Luckily for all the pop pickers in the world they are back with a two track 7", their first with new bassist Pete O'Hanlon. Both tracks have everything you’d want from The Number Ones - joyous and uptempo songs with hooks galore that get stuck in your head after one play.
’Sorry’ lasts just over two minutes and is a stonewall classic. It’s like a prime Buzzcocks 1979 7” single mixed with a rawer production from any number of the Good Vibrations label or Rip Off Records releases. The flip ‘Blind Spot’ (complete with a guest appearance from Al and Amy from Terry) has a more 60’s edge but still with the classic power pop sound you’d expect and love. This band should be a household name.

Micke & Lefty feat Chef - Live On Air - Live On Airis a double live album from
Micke & Lefty feat Chef, recorded in collaboration with Deutschlandfunk radio
- Volume One, a studio live session for DLF Radio's On Stageprogram, was
recorded during the 2020 pandemic - Volume Two captures a dynamic 2023
performance at the Blues Baltica Festival in Eutin, Germany
This double live album captures the trio's electrifying and intimate performances,
showcasing their mastery of acoustic blues. Featuring 25 tracks, including originals
and blues classics, from the band's live repertoire over the years. The album also
celebrates the trio's 25th anniversary."Reaching this milestone is incredible, specially
when this all started as a spin off of my main band. We wanted to share these
recordings as a tribute to our long journey and audience. This live album is a real deal,
raw performance as live as it can be with no overdubs" says Bjorklof."Original! Lively!
Entertaining! The trio's performance is as unique as it is high-quality. Bjorklof stomps
on an old suitcase instead of a bass drum, Lefty Leppanen wields his vintage guitar
with effortless mastery, and Mr. Chef's semi-acoustic bass adds depth. This Finnish
acoustic blues is dynamic, original, and captivating." - Deutschlandfunk
RadioReflecting on this dual release, Bjorklof states: "Blues has always been my
foundation, but I've explored it's many shades over the years. WithOuttakesandLive On
Air, I want to celebrate both the electric and acoustic sides of my musical journey. I
couldn't think of a better way to markmy 60th birthday than by sharing these two very
special albums with our fans

There are bands that you feel you have known forever -- recent ones, new
ones even -- because you are already so familiar with what you know they are
going to offer, familiar with the anticipation and the need, with the pleasure
you expect them to, quite rightfully, provide the masses (by which I mean
people who have once considered calling their first-born Kang)
VERDICT is such a band. It has members of MEANWHILE, NO SECURITY,
WARCOLLAPSE, 3- WAY CUM, TOTALITAR, and too many other bands, and even
though I have never actually met any of them, I still have had more interactions with
them through (over)playing and rocking to their records than I have had with some
members of my family, which, to be honest, is definitely for the best. VERDICT is a
rather new (but experienced in the things of the D) kang hardcore band, and they know
exactly what they are doing and how to do it. Had they produced something different,
that would have completely taken me aback -- something horrendous like ska- punk
would have made so little sense that I would have had to quit punk altogether. Alright,
what about The Rat Race, then. This is the follow-up to last year's Time to Resign, and
this one has even more punch, fury, and pummeling power than its predecessor.
Unoriginal, in a good way, and thoroughly checking all the correct boxes: the
drumming is pure and relentless, the riffs' efficiency is religiously executed in a
"Scandicore 101" way, the vocals are angry, direct, and raspy. Think a joyous orgy
between NO SECURITY, UNCURBED, and TOTALITAR.
This is the kind of record that makes the world a better place to rock. Thank you
Phobia Records. Kang up your life.

"Kindred spirits and loyal soldiers on the frontlines of the dub war Detroit's 2Lanes and Los Angeles' Cromie link up to present to the world, Destiny Cloud. With a project name inspired by a mystical vacant storefront in Cromie's neighborhood of Altadena (still standing after the fires, bless), the guys formed like a storm after being intro'd by a notorious LA promoter and hotboy producer matchmaker. Funnily enough, the first session was foiled by a missing cable, so it wasn't until the sexy summer of 2023 that the cloud seeds that went on to become Sun Phase/Moon Phase were planted. From the jump, their vision was lucid and their objective collective: lock in at the stu(s) to make the most jiggy, psychedelic, tripped out club shit they could muster. Fast forward to today, Destiny Cloud is proud to bring you the latest missive on 2Lanes' Auto Shop imprint.

On the A side, Sun Phase sets it off with searing stabs from the hands of session killer Ji Hoon on a heavenly Jupiter-8 (sorry not sorry, the real thing does sound better) before a bassline straight off the Adriatic's Argonaughty comes in to funk up the flow over a bed swung hi-hats and drum circle conga lines the Wickedest west coast house heads can appreciate (no hippy shit, but we ARE on Hipp-E's dick). A keep-it-simple-stupid *muah' organ line plays nice with a gang of embellishments to take this one through its duration (Joey pressed record and said "ooh-wah" into the vocoder; no lie, I was there). With his Toxic Love remix, NYC upstart DJ John Brooklyn injects the tune with the highest grade octane to up the revs. The aforementioned organ becomes a timeless trance lead, and new pipes are inserted reminding us all that house music is forever.

Day turns to night on the B Side with Moon Phase, where booming kicks let you know off the rip that this is some real deal late night trunk funk. We're talking dualities here y'all; Cromie's deep-as-the-Pacific bassline meets Joey's frozen-lake-cold Detroit stabs as the drums speak in tongues with those on the other side of the slab. Reverb ghosts and rhythmic acid have this one veering more psychedelic without losing the jiggy factor, while diving proggy synths will have the Global Underground saying, "yea this is our shit, for real." With a run time that allows for maximum fun time, the ambient outro gives you a kiss on the forehead to put that ass to sleep. The iconic DJ Miss Parker takes the wheel on the remix, taking this one straight down the Tunnel with new-school/true-school Tenaglia-isms that wouldn't sound out of place in 2000, 2005 or 2025.

Like all the work we do, this one's a team effort. Salar Ansari put's his deft touch on the mixdowns and Jack Anderson blesses the center of both sides of the disc. Out mid-May, just in time for when things start heating up

The first release of 2025 on Big Saldo’s Chunkers comes in hot with an all-killer, no-filler four-tracker from London’s Papa Nugs. All four tunes on Move it or Lose it are playful, upbeat house jams, with carefully arranged elements firmly aimed at the dancefloor. The seventh release on the label is a fully realized vision of Papa Nugs’ take on the classic chunkers style: big, boshy, hip-catching basslines, infectious vocal chops, party-starting percussion, and a generous helping of rave-ready samples and FX. Nugs’ masterful production chops shine through especially bright here. The canon of 90s club music is referenced with expert poise: subtle nods to early trance, progressive and hard house, turn-of-the-century Ibiza tribal, and insouciantly sleazy tech house are delicately woven into the tracks, along with the contemporary hip house vibe the label has gained notoriety for. As the lead vocal in Turn it Down repeats: “We’re here to have a good time, ” and the EP is exactly that. With festival season just around the corner, this one is sure to be a staple on main stages worldwide. Needless to say, now is not the time to sleep on the latest offering from BSC.

"Sebastian Mullaert has always favoured the long arc: of tracks, of creative cycles, of artistic trust. His next chapter unfolds in the form of a new vinyl only label, born in close collaboration with Ulf Eriksson - his longtime friend, ally and the steady pulse behind Kontra Musik, a label that's been both home and launchpad for many of Mullaert's most vital releases. K-Files is built on two foundations: singularity and multiplicity. Every release will present a single track refracted through three or four different versions - each one approaching the core idea from a distinct creative angle. These are tools not just for DJs, but for listeners who hear dance music as more than just rhythm - as mood, as exploration, as transformation. The first release, K-FILES 01, sets the tone: deep, dubby, and spacious, it invites patience and immersion. But like all good rituals, the process will shift. Future releases are already poised to explore other territories: sharper energies, stranger grooves, unexpected colours. In a world increasingly defined by instant access and digital saturation, K-Files stands intentionally apart - a slower offering. A return to physicality, to process, to the tactile rituals of listening, selecting, and playing music with care. K-Files is a sublabel for those who play records not just to move bodies, but to open space. A platform for sonic evolution, variation, and perspective. A place where dance music is not pinned down - but opened up. Each record will be released exclusively on vinyl."

This is a four-track sampler taken from parts one and two of the One Hundred and Fifty Steps VEP series which is all about exploring the rise of 150 bpm dubstep, a sound that is characterised by fast basslines, broken rhythms and heavy halftime pulses. From VEP pt. 1, L.A.'s Carre delivers pacey wobblers and then Berlin's Formella debuts with playful breaks and more wobbly bass on 'Dripstep'. VEP pt. 2 features Leipzig's Old Man Crane with their intricate, syncopated style shinning through on 'Grey' and Valencia's Andrae Durden then shows class with a Kryptic Minds-inspired low-end powerhouse.

Unsettled Scores Records is proud to announce the soundtrack to The New York Graffiti Experience 1976 by Fenton Lawless.

The New York Graffiti Experience 1976 is a short documentary directed by Fenton Lawless, one of the earliest on film to capture the New York Graffiti scene. The documentary started life in 1974/1975 as a slideshow by Fenton Lawless andJustine DiIanni, the film's producer,including original photographs and backed by the song French Fry 97, which was later used for the full documentary as well as other music previously recorded in 1974 by Fenton and his band.


All the music has been previously unreleased until now so Unsettled Scores Records are beyond happy to be releasing The New York Graffiti Experience 1976 on 7" vinyl and digital download.

In 2020, when I had just started Future Retro London & was messaging producers I wanted to work with on tracks for the Meeting Of The Minds releases, I reached out to Worldwide Epidemic and we made "Losing Control" on Vol. 2 of Meeting Of The Minds, one of my favourites of the series.

I was quite keen on getting him back on the label at some point in the future & I can't remember exactly the chain of events that transpired during then and now (I'm sure I told him at some point to work on some music for me but I honestly can't remember how or when I did this, sorry Dan!) but around the start of 2023, he sent me Bells Of Arptazia & I knew it was perfect for the label.

Without a doubt, it's my favourite tune of his and to be honest, I'm actually a bit jealous of how lush and intricate that intro is and when I was in New Zealand on tour in March this year, he showed me the project file for it and the amount of detail that went into this tune, I'm really glad that he was willing to let me release this tune on Future Retro London.

To accompany his tune, there's remixes from Kloke, me & Dust-e-1, all taking the original into different directions to make for hopefully a well rounded release, representing a variety of styles & flavours.

Thanks to Liquid Silk for his fantastic track, to Kloke & Dust-e-1 for their remix work & to James Lacey (aka Pointless Illustrations) for the artwork.

Die Herzschmerz-Verkäufer Nature TV verkaufen von Tür zu Tür ein Elixier aus Jangle-Indie und melancholischem Yacht-Rock. Ihr Debütalbum "Unlucky For Some" ist eine Sammlung von 7 EPs, die ewig liebeskranken Dream-Pop mit klassischer Soundinnendekoration und kompositorischen Wendungen paaren. Die reichhaltigen Songs setzen das Thema Liebeskummer in High-Fidelity fort. Das Ergebnis ist eine LP, die mit akribischer Liebe zum Detail summt und sich dennoch so benommen anfühlt wie die Einnahme von Beruhigungsmitteln im Whirlpool. Eine Indie-Jangle-Partyband auf dem Höhepunkt ihres Könnens, nur dass die Party vorbei ist und sie mit dem Soundtrack für das Aufräumen beauftragt wurden. Jemand liegt bewusstlos im Gartenstuhl, Zigarettenstummel stecken in leeren Dosen, eine Tür ist aus den Angeln gerissen, der Pool ist halb versickert, Regen strömt an den Fenstern herunter und alle müssen morgen früh arbeiten. FFO-Immobilien, Ducktails, Glitzerparty.

- "Verträumt schöner Indie-Pop mit einem subtilen Hauch von Introvertiertheit." - CLASH

- "Ein Song für die Heimreise am späten Freitagabend, wenn Ihre Hoffnungen zerstört wurden und Sie etwas Zuneigung brauchen." - Line Of Best Fit

- "Indies neuste strahlende Sterne." - DIY

In "Horror Vacui", Paris-based, Iran-born 9T Antiope use a sparse palette of octave mandolin, violin and octave violin, synthesizer and vocals, to build a dynamic world that seems to exist outside of the bounds of time and place. Cinematic, spare, heavy, gossamer, and informed by the band’s work as sound designers and composers for theatre, film and performance art, Horror Vacui is a concept album that explores what sounds have been, what they’ll become, and the nature of memory, dementia and decay. As 9T Antiope attempt to reconcile different worlds, they create the sound of arriving in a new world all your own.

For us, this is a top five all time tune in the soul reggae canon and maybe Leroy Smart's best ever. An early one for Mr. Smart, this is the first cut of one of his most classic tunes, recorded in 1972 for producer Gussie Clarke and originally released on the early Tuff Gong label via Wailers' associate Alan 'Skill' Cole. If you're like me and you've listened to the original Tuff Gong 45 a million times, you may have noticed that the dub version was mixed from a different vocal take, with some lyrics not on the A side coming in to the dub mix. This alternate vocal take is also the one partially used for the 1979 remix cut on a heavily overdubbed rhythm. We had always desired to hear this other take in its original form, so naturally then we had to get the great Mr. Clarke to dig this one out of his archives to hear it as it should be. In comparison to the original released cut, it's a more spare take sans the opening harmonizing, and the lyrical changes give the tune a more pleading and less stubbornly declarative mood. For the B-side version we have an alternate mix again, which is actually the one Big Youth deejays over for his tune "Pride & Joy Rock." Consider this release a prime example of DKR's "never too much of a great thing" philosophy.

Teal’s debut LP, Original Watercolour, is an album that feels like a canvas come to life. A sonic blend of street-soul, digi-dub, and downtempo. Original Watercolour explores the complexities of love, oneness, and intuition — themes that resonate deeply within the context of the history women have shared with what was once known as the “ladies’ medium.”

The bi-coastal family trio—Ashleigh and Melissa Ball, better known as the Ball Sisters, alongside producer N1_SOUND—bring a fresh, genre-defying sound to the table with their latest 6-track album. Running just under 30 minutes, this immersive collection weaves together skipping beats, addictive bass lines, three-dimensional flute textures & emotional vocal melodies. This musical portrait is as ethereal as it is powerful, inviting the listener to get lost in its depths while celebrating the beauty of self-expression.

The opening track, “Original Watercolour,” takes you on a psychedelic trip-hop journey. From the first reverberous snare hit, you’re whisked away to a sonic wetland — lush and euphoric. The soft yet poignant soundscapes set the tone for the album, inviting us into a world where the boundaries between earth and music, reality and imagination, automatically seem to blur.

“Locked In 2 Love” offers a boogie-fueled bassline that pushes Teal into dance-floor territory with soaring flutes and rhythmic intricacies that make it impossible not to move — it’s a track that exemplifies the magic of Teal’s ability to craft both intimate and expansive musical landscapes. And then, there’s the hypnotic flow of “One In The Same,” where stacked vocal harmonies and mantra-esque lyrics transport you to a place that could easily be mistaken for a lost Soulquarians demo. It’s gentle yet unrelenting in its depth.

The second side of the album opens with “Sleep on It,” a track that immediately grabs attention with its dancehall-driven rhythm. Ashleigh Ball's vocals set the stage for a song that’s both introspective and emotionally charged, yet unmistakably rooted in groove. The phased-out bassline creates an almost hypnotic atmosphere. Pulling the listener into a mood of contemplation—matching the restless, sleepless night that Ball describes. As the song progresses, this groove builds in intensity, culminating in an explosive ending that mirrors the emotional release of a long-held frustration.

Original Watercolour is more than just an album — it’s a meditation on the interconnectedness of life and art. “Frog Kingdom,” the longest and only instrumental track creates a contemplative space that builds upon the themes introduced earlier. It feels like a sequel to their earlier work, Frog Legacy from their debut Bluish Green 2024 12”, expanding on the familiar sound with even more complex layers.

Yet the real emotional power of the record lies in its closing track, “Can’t Shake the Feeling.” Simple in structure but profound in impact, this song captures a deep yearning and understanding — that everything, from the ecosystems we inhabit to the relationships we nurture and the art we create, is fundamentally interconnected. As the track crescendos in a falsetto peak, it becomes clear that the album is a reflection of both the world around us and the personal journey each member of the band has embarked upon to get to this point.

Just as the medium of watercolor has been traditionally linked to women artists, Teal carries this legacy into the modern musical landscape, blending the richness of history with a unique forward-thinking perspective. The album feels like both a celebration of the past and a bold declaration of a path forward — one that welcomes anyone ready to join in and shape the future of the art form.

The beauty of Teal’s work is that it feels familiar, while simultaneously offering something new and refreshing. Original Watercolour doesn’t just push musical boundaries; it redefines them, offering a lush and textured soundtrack for those willing to listen closely.

In a world that often feels over-saturated, Original Watercolour stands as a reminder of the power of simplicity, intuition, and connection. Teal’s debut album invites you to experience something both deeply personal and universally understood. The landscapes they create are vivid, yet soft, grounding yet expansive. With each track, Teal’s music reflects the interconnectedness of all things — a truly unique piece of work in the world of experimental soul and dub adjacent electronic music.

Rising and falling. We all live in the same pond. Peace to all.

Previously unreleased; four track 12" with two different vocal takes, each w/ dub. Comes in Bond Export company sleeve.

Another cold case solved! One of DKR's early victories was finding a tape of the drum & bass cut of the legendary dubplate 'Rocks & Mountains.' Rumor had said the artist was the Mighty Travellers, but this didn't really add up chronologically or audibly. More astute listeners mostly agreed the artist was likely the Majesterians, a little recorded group who had made a couple other records for Taxi circa 1980. When we first issued the song on a 10" back in 2011, even Sly himself couldn't recall for sure who sang the tune. Like with other 'mystery' projects which we eventually came to realize, we never gave up digging on this one. There were two mysteries at work here - one, confirming the identity of the group, and two - finding the other cut of the tune, which features fuller instrumentation and a different vocal take. Both cuts were around on dubplate circa '80/'81, and the latter cut can be heard ever so briefly in the infamous UK "Sound Business" documentary film from '81. In the course of a mere 13 years, both questions came to be solved - we obtained a pretty clean plate cut of the fuller mix, and we confirmed the identity of the group. The Majesterians were a vocal trio consisting of Everton Dacres, Roderick Perkins and Paul Mitchell. While the latter two gentlemen don't seem to have done much otherwise, we are sure the roots heads and hopefully all DKR followers know Everton Dacres, who made some fine roots music in the 1970s prior to fronting the Majesterians. We spoke to Everton and he confirmed 'Rocks & Mountains' was their tune, cut in Channel 1 at a Taxi session featuring a host of other artists. Indeed, these were the heady days of 1980 with Channel 1 booked round the clock for locked-in sessions, with the Taxi Gang and the Roots Radics laying down future classic after future classic. All that said, we're happy to re-present this tune now with not only proper accreditation, but also both known mixes and the drum & bass mix in improved fidelity over its previous issue.

Remix Edition

"Don't Run From The Fire" is Minuit Machine's 5th release. It's a four-track EP. One year and a half after coming back from a one-year hiatus, Minuit Machine keeps on transforming and evolving. From dark electronic, to EBM, the duo reasserts its hybrid identity, always dark wave, but with strong touches of techno and EBM. Don't Run From The Fire talks fear and desire. How love, and feelings in general affect us all as human beings. How we try to run away when we feel in danger. We run away, or we stand still, ready to attack, like a scorpio. We hide how much we're afraid, how much we'd like to hide. It's about control, trying to take control when everything is out of control. When the world around us is chaotic and dangerous. Don't Run From The Fire is about fighting, for who we are, who we want to become. It's about understanding what we truly want and embrace it. Don’t Run From The Fire – Remix Edition is a new version of the original EP with 4 additional remixes from Rein, Parallx, Crystal Geometry and Maud Geffray.

Infinity Division is the alias of electronic producer Ash Luk. Best known for his innovative blend of euphoric melodies, scattered breakbeats and gabber infused rhythmic chaos drawn from his relentless live performances, Ash’s newest offering, debut album SATISFACTION (which also marks the launch of his label, SOFTCORE UNLTD.), explores his relationship with all things anthemic.

Featuring artwork from Spyros Rennt, the thirteen track album traverses a diverse array of sonic landscapes. Spanning doomy post-rave and trance-driven metal to breakbeat-infused industrial pop, the album is united by a genre-defying exploration of the elusive essence of anthemic sound.

Venturing beyond the safety of machines, Ash steps to the forefront with his vocals on Seven Demons and Like Heaven, while From Evil, Weather Prophets, and Satisfaction feature vocal contributions from Zastar of Violent Magic Orchestra, Coy Mistress, and Nova Bruise, enriching the album’s diverse soundscapes.

In addition to his work with Infinity Division, Ash is one half of the doom electronic live duo S.A.T.I.N. alongside Ireen Amnes and is possibly best known for his work in Minimal Violence, a project known for their raw, hardware, punk influenced live performances. Releasing on well known labels such as Tresor and Technicolour / Ninja Tune. Their work was characterized by a DIY ethos and an emphasis on analog equipment, allowing for a direct and visceral approach to production. Now, with Infinity Division, Ash continues to build on a body of work that explores the space between genres, combining an attention to detail through carefully constructed sound design with the spontaneity and raw energy of his live performances. SATISFACTION sets the stage for the next phase of Infinity Division, showcasing a collection of tracks that draw from the essence of the past while reaching out toward a mirage of the future.

Growing up is painful, brutal, and sometimes beautiful _ something Brooklyn-based indie-rock band Bedridden knows all too well. The band's name is even a nod to that ineffable period between childhood and the jagged edges of the real world. "When I was 21, I kind of lost my home," says frontman/guitarist Jack Riley. "I was couch-surfing. I was having a hard time.The next iteration in the band's maturation, then, is their debut, LP Moths Strapped To Eachother's Backs, 10 fuzzed-out (and sometimes gnarly) ruminations on dating, drugs, and survival out April 11 on Julia's War. The title came from a mysterious missive Riley received on astrology app Co-Star. "Last year I was way too reliant on other people _ my partner at the time, my friends," he says. "I was strapped to them in a weird way _ and flying in circles. This album is about that time."The current incarnation of Bedridden encompasses a patchwork of styles, influences, and friends Riley accumulated over the years. A Chicago native who first started making music at age five on a thrift-store guitar emblazoned with Kurt Cobain's name, Riley moved to New Orleans for college where he dabbled in punk before falling in love with shoegaze. There, he launched the first version of Bedridden. Sebastian Duzian (bass) _ a jazz musician and Pasadena native _ linked up with Riley in NOLA along with his bandmate, drummer Nick Pedroza. Pedroza, from Claremont, grew up on rock, metal, and jazz, honing his style after joining the band. Wesley Wolffe _ a guitarist fed on a steady diet of New Wave and `90s alt _ rounded out the crew just a few months back. Bedridden's previous lineup released their first EP, Amateur Heartthrob, in 2023 _ a noise-washed blend of shoegaze, DIY, and indie that Riley says is a "coming-of-age EP _ these formative stories about not having a bed, dating, being kind of a jackass. I was making fun of myself a lot." That release caught the attention of Douglas Dulgarian from Philly Label Julia's War (and TAGABOW), who signed them for Moths."Some of these songs have been around for years," says Riley, adding that they were recorded last February at Studio G Brooklyn; the album was produced by Aron Kobayashi Ritch (Momma). "As opposed to Amateur Heartthrob, we attempted to blend more clean guitars into a driving sound to capture more clarity _ one that also sounds live_ and raw," Riley says. That rawness thrums through the record, which kicks off with the thrashed "Gummy," about an incident when Riley had to gently fend off a co-worker's unwanted advances while both drunk and high on an MDMA gummy. And then there's mournful rager "Etch," which sees Riley daydreaming about beating up a meddler in his personal life _ in the minor key.The annihilating "Chainsaw" revs in next, a lightning-fast Lemonheads-inspired track that recalls Riley moving in with new roommates who were unnaturally obsessed with purchasing a lamp. "For some reason that pissed me off," he laughs; that rage is evident in the album cover, which shows said power tool demolishing a lampshade. Heavy-shredding "Heaven's Leg" showcases the band's affinity for `90s mainstays like Smashing Pumpkins while telling the tale of a gig at a local church. "The lyrics are about a pastor I had met that had lost his leg," Riley says. "The church had signs about not cussing and I had a feeling that neither of us had anything to talk about without potentially offending the other."The band's not afraid to get confrontational, though, on the anger-fueled, drum-heavy "Philadelphia, Get Me Through," which deals with a dead-end relationship and the mistaken assumption that getting drunk in the titular city would be a balm against the pain. And the nasty, brutist, and short hardcore-adjacent "MainStage"? "It's about being disrespected at a show on New Year's and how I lashed out," Riley says. "I then began to take it out on other people, which was a quality that I despise."Things get contemplative and mournful from here on out _ the emo-edged "Snare" is about bringing flowers to a hospital room where you're not welcome, while the Smiths-inspired "Uno" wrestles with self-loathing. "I guess the big finale of that song was my response to dealing with this recurring experience of feeling like I wasn't good enough by getting really into whippets," Riley says. Nu-metal bop "Bonehead," then, recalls an embarrassing dinner that turned into an argument _ the name applies both to that incident and the delicious simplicity of the guitar parts.After all that turmoil and pain, the band caps everything off with their eyes to the future on the jangle-pop "Ring Size." "All my friends are getting married _ do I follow in their footsteps? Or is it all a waste of time?" Riley says of the song. "At the end, through it all, I guess that's what I've been trying to figure out _ how to grow up, how to move on. I'm trying to navigate things as an adult and I'm not very good at it. But this is just the first record. This is just the beginning."And, hey, at least now he has a bed.

"So the bad news is, in a fit of pique, I asked Chat GPT (nicely) to compose a one-sheet for the new Shit and Shine double album, Mannheim HBF. The even worse news (yes, even worse than resorting to such tactics) is that the resulting biography is halfway passable and on some levels, superior to the sort of thing being published by what’s left of our weekly coupon-shoppers. But for fuck’s sake my friends, Craig Clouse did not get to where he is today today by settling for halfway passable and neither should you. That Shit and Shine’s discography is vast and dizzying is already well established; what’s not nearly as established are these recordings being specifically dizzying. I don’t know if there’s anyone else in modern music as skilled in waltzing around the periphery of so many disparate idioms ('noise', being one of the least prominent this time around) and somehow, against all odds, tying ‘em together in the most intricate of knots. And who doesn’t love knots? We all have our favorite ways to experience music that’s all-engulfing, but whether your preferred method is thru a stadium sized sound system or ear buds affixed as you’ve leapt off the tallest building in Bastrop, TX (the Jerry Fay Wilhelm Center for the Performing Arts, since you asked), not for the first time, Shit and Shine is entirely appropriate in either instance, possibly every instance. There are moments where I think this is a club record. The Friars Club, however. Far be it from me to provide guidelines for how and when you take in Mannheim HBF. 'No interruptions', 'no distractions' are merely suggestions on the label’s part, though we cannot be held responsible for what happens if you ignore ‘em. Thank you."

Following a trio of quick sell out, limited lathe cut 45 to kick off 2025, Feral Child now embark on a stash of more widely available full lengths (from the likes of Lake Ruth, The Jonny Halifax Invocation and Polypores amongst others). First up is a wonderful follow up to 2023’s “Refrains” 10” EP from Swedish band TAPE. “Refrains” figured in 2 or 3 notable UK stores’ end of year polls, noticeably Monorail in Glasgow where Stephen Pastel gave it a top 3 for 2023 nomination. “Preludes” is -if anything- even more majestic and acts as a superb follow up. The record is released 11th April on Feral Child as one time pressing 10” vinyl only release, featuring beautiful artwork once more from Peter Liversidge and the calligraphic hand of Klas Augustsson. The return of Swedish trio Tape has been reassuringly slow motion. They’ve always moved at their own pace, these three peripatetic musicians – brothers Andreas and Johan Berthling, and companion Tomas Hallonsten – though it’s been over a decade since their last full-length, 2014’s Casino. Not a disappearing act, rather a break for consideration, time to explore other avenues of creativity, perhaps… But their reappearance, with the Refrains 10”, was one of 2023’s most encouraging moments; doubly so, as it was proof they’d not lost their way, at all, in the intervening nine years. The Tape modus operandi is one of deceptive simplicity and artful innocence. On Preludes, a typically right, one-word Tape title, this means five wordless songs that move between fully fleshed out, lovingly tended folk threnodies – the beautiful opener, “Lights Out”, that spins webs via simple, hypnotically repeating guitar – and textural conceits that hover, appealingly, in a kind of no-place. “Naukluft Plateau” is lovingly dappled, with ruminative piano adrift on a cascading tonal waterfall. Then, feather-fall strums of guitar meet huffing harmonium and electronic scrum on the brief “Golden Gain”. Is there a more perfect song title for Tape than “Tangential Thoughts”? It sums up the way their music, nimble and dainty but also carefully tended, lends itself to the reverie, the meander, the anfractuous. The madeleine-like power of this song’s two-chord figure allows the music to take flight: rustling organ, oscillating cymbal, droplets of percussion, a spinney of sound. And Preludes slips away “On The Accordeon Bus”: there’s something lovely about the way that title collapses transit, articulation and bellows, reflected in the see-sawing sway and glitch-like rivulets of sound that course through the song. So, Preludes, then – alive to the moment, both gentle and sturdy. A copse of tone, and a most gorgeous wool-gathering.

Panos Alexiadis is a sound artist based in Athens, Greece, active in the field of contemporary electro-acoustic music. He founded and co-curated the tape label Thalamos, a home for exploratory sounds, where some of his own works also found their place. Marking a return after a period of (sonic) reflection, Cestrum Nocturnum is an album of remembrance and renewal. Through a lattice of self-sampled piano, fragmented voices, field recordings, and transient digital traces, Alexiadis composes a space of warmth—an electronic tapestry woven from the ephemeral. Across six pieces, sound unfolds like memory: layered, textured, dissolving at the edges yet leaving an imprint. A meditation on the cyclical nature of being and the often unnoticed beauty that quietly persists, even in the darkest hours. Cestrum Nocturnum is both a shelter and a signal.

--

The night has a thousand eyes,
And the day but one;
Yet the light of the bright world dies
With the dying sun.

The mind has a thousand eyes,
And the heart but one:
Yet the light of a whole life dies
When love is done.

Francis William Bourdillon, 1899

--

All music composed, recorded & mixed by Panos Alexiadis
Spoken word on 'But One' & ‘Follower' by Fotini Stamatelopoulou
'The Night Has a Thousand Eyes' poem by Francis William Bourdillon
Mastered by Christophe Albertijn

“Underground” is a relative term. One could argue that all the ‘60s San Francisco psychedelic bands were underground, because the music they made was so far removed from the pop and rock sounds that came before them. But of all the bands in the scene, Lamb was perhaps the most underground of them all. It wasn’t just that their blend of rock, folk, classical, country, blues, and gospel was as hard to classify as any of the era. It was also their vibe. Along with classically trained guitarist and songwriting partner Bob Swanson, Barbara Mauritz’s versatile vocals paced material often imbued with a haunting, mystical aura. Yet they could also be earthy and rootsy, occasionally drifting into spacey psychedelia with hints of raga-rock. Released in the early ‘70s, Lamb’s first two albums, A Sign of Change and Cross Between, did indeed offer some of the most intriguing and eclectic music of any San Francisco rock band on the psychedelic scene. But Lamb’s history predated the release of those records by a good couple of years or so. So prolific were Mauritz and Swanson that quite a few of their original compositions didn’t make it onto their albums, though these were often on par with the songs that did find official release. Unlike many bands of the time who had a bounty of surplus quality tunes, Lamb often taped these in studios and studio-like rehearsal conditions, as well as making some professional tapes of their live performances. Fortunately, many of those tapes survive, including a good number of songs that didn’t find a place on their LPs, as well as substantially different versions of some that did. The best of these from the late 1960s find release for the first time on An Extension of Now: Unreleased Recordings 1968-1969. This collection not only rounds out our picture of one of San Francisco rock’s finest underappreciated acts, but also serves as a first-class document of Lamb as they made their transition from a more standard rock outfit to a group not easily comparable to any other in the region, or indeed any other anywhere. Our black vinyl and CD (with extra tracks, limited to 500) releases feature liner notes by Richie Unterberger drawn from an interview with Bob Swanson, who has also contributed photos and memorabilia from his private archive. Produced by noted Bay Area archivist Alec Palao…if you’re a fan of late-‘60s S.F. psych, you have to hear this!

Berlin-based French-Irish multimedia artist Zoe Mc Pherson levels up on their third full-length "Pitch Blender", mangling years of experience DJing and performing live into a tight set of cybernetic soundsystem experiments that flicker between the rave and the art space.

Cast your mind back to February 2020 for a moment, when Mc Pherson released their last album "States of Fugue". The world seemed less tangled somehow, and yet Mc Pherson's precision-engineered fusion of exploratory sound design and visceral club pressure seemed to hint at a cataclysmic event none of us were really expecting. Only a few weeks after its release the world changed forever, and the majority of us were grounded - forced to consider our lives and the movement (or lack thereof) surrounding us. The philosophy of this extended time period is welded into the bones of "Pitch Blender", Mc Pherson's supple third album. They have learned plenty in the last two years, and infuse all of that anxiety and spiky emotionality into a spread of tracks that sound as powerful in headphones as they do over a well-tweaked soundsystem, soldering vocals, environmental recordings and instrumental flourishes to unpredictably pneumatic, cybernetic beats.

Anyone that's caught one of Mc Pherson's energetic live performances over the last few months will have an idea of what "Pitch Blender" is made of. They're an artist who's somehow able to match the raw energy of post-punk and no-wave music with the brain-altering potential of the best experimental club tracks, vocalizing an incongruous post-lockdown reality over beats that sound as if they're in a permanent state of flux. 'On Fire' splutters to life in a frenetic patter of drums that blur into oddly soothing hoover sounds, snaking lysergically towards a drop that's teased constantly, and never comes. We're forced to wait until 'The Spark' for that, fighting through choppy, pitch-mangled guitar and rolling beats until a gruesome kick drum forces its way through the psilocybin mists and heaving Bristol-inspired bass clonks. Backed up with just the inverted traces of recognizable breaks, this vigorous pulse lies at the heart of "Pitch Blender", the driving force that powers Mc Pherson's sound even when it's only hinted at.

'Blender' is the moment where Mc Pherson show their full hand, using crackling sound effects, ghost vocals and uneven rhythms to build a textural landscape that's so evocative you can almost taste it. Squealing modular synth effects sound like gameshow buzzers being triggered in another dimension and propel the track forward - it's club music, just about, but Mc Pherson's motivation is world-building, and their world is colorful, abstract, and dizzyingly surreal. "Obsolete user," their voice echoes over driving airlock kicks. But they take a swift left turn with 'Lamella', reducing the kinetic club rhythms to a longing simmer and letting loose with powerful vocals, intoning with robotic, gender-fluxed intensity. On 'Wait', New York City's clacking crosswalk signal - already an effective club track on its own - is transformed into a reminder to slow down, juxtaposed with booming sub-heavy kicks, acidic synths and effervescent percussion that rattles in time with the vibrations. It's foley rave, built for pure psychedelic intensity to blur the line between real life and sonic fiction.

One of the album's most galvanic tracks, 'Power Dynamics' curves a double-time rhythm around breathless HQ sound design squiggles until it hits a polyrhythmic crescendo, striking a queasy balance between rave hedonism and ritualistic hand drum energy. It all builds towards eerie closing track 'Outside' that acts as an important wind down, spotlighting Mc Pherson's ability to operate outside of the rhythmic spectrum, using cinematic scrapes and flickering neon synths to create music that's tense but never terrifying. The track feels like the end credits of a particularly bewildering movie - something between the cyberpunk dystopia of "Ghost in the Shell" and the vivid, sky-scraping beauty of "Koyaanisqatsi". Mc Pherson has managed something special with "Pitch Blender": mashing together genres with rare focus, and sharpening their engineering skills to a fine point, they've concocted an antidote to contemporary malaise - a wakeup call that's begging us to loosen our limbs and move.

Hausu Mountain continues the HausLive series of live show recordings that capture some of the headiest moments in Chicago underground music. On HausLive 4, we rewind the clock approximately one year to May 3rd, 2024 at Constellation, where the all-star Bill Orcutt Guitar Quartet (featuring Wendy Eisenberg, Ava Mendoza, and Shane Parish) made their barn-burning Chicago debut. The series channels the spirit of the informal bootlegging and tape trading of audience recordings as pioneered by the community surrounding the Grateful Dead, honing in on the raw live energy and in-the-moment emotions that can make any show stand out in the stream of time. HausLive 4 catches the Bill Orcutt Guitar Quartet in a sublime state of tour-hardened synergy with one another as they tear through the four-string guitar compositions that Orcutt wrote for his album Music for Four Guitars (Palilalia Records, 2022) with dialed-in fingers-on-fretboard precision, while also letting those songs evolve into flights of improvisation and extend into solo and duo passages led by each of the four guitarists. As Orcutt says on tape during one of the show’s interludes, “that record is thirty minutes; this show is an hour, so we’re improvising.” The resulting free-wheeling moments combine with the rigidity of Orcutt’s meticulous four-guitar compositions to form a program of music that draws power in equal measure from the forces of chance and discipline.

After "RUINER", "CLEAN" and "GOLD", Atlanta's noise juggernauts WHORES. return with fierce new album ,WAR". American Muscle to drown out the American Dream as it careens into the ditch_ "WAR" is a an album full of brazen rhythms, serpentine riffs, walls of feedback, and howls of contempt. It is an album that is as rowdy and boisterous as it is anxious and savage. "Helmet comparisons are understandable but Helmet wishes they sounded this authentic and convincing in 2024", Heavy Mag wrote in their rave review, and Rolling Stone included "WAR." in their 20 best metal records of 2024. "It pisses me off when people talk shit about us. They don't know the lengths I go through to keep this band going" says guitarist/vocalist Christian Lembach in an interview with New Noise Magazine on why it's taken eight years between albums. Personal issues, accidents and then the pandemic presented obstacles for the band. Lembach injured both of his knees and tore the meniscus in his right one, and he broke both elbows and his ribs in an accident at his day job. WHORES. have dealt with setbacks that would have killed other bands, but instead it's made them stronger. And Lembach's high standards haven't exactly accelerated the making of "WAR": "It takes a while because I need to make a record I can stand behind. I just don't want to put anything out to just do it. I never think the one I'm working on is a masterpiece. To me the masterpiece is the next one", he says. "Lyrics are the most important part to me. Not the riffs not the song structures but the actual words" Lembach elaborates. "I always have the title before I write the lyrics. All the lyrics and song titles fit thematically into the album title. In this case I did a lot of soul searching. I was trying to figure out what it takes to be happy. I had to confront the ugly parts of myself. The title isn't political, it's about conquering the ugly parts of yourself." "WAR" is a battering ram of a live band, slugging like a doomsday clock towards midnight. Originally self-relased in 2024, we are happy to finally release in Europe what we're sure will become a noise rock genre-classic. PRESS "time is just a construct and Whores. are forever" - Everything Is Noise " ein weiterer musikalischer Schlag in die Magengrube" - Visions 10/12 " Frontman Christian Lembach is not so much a singer as a verbal assailant a spitting cobra of a human who leaves you drenched in his venomous wordplay." - Heavy Mag FOR FANS OF CHAT PILE, HELMET, HIGH ON FIRE, KEN MODE, INTERCOURSE, UNSANE, NAILS

After "RUINER", "CLEAN" and "GOLD", Atlanta's noise juggernauts WHORES. return with fierce new album ,WAR". American Muscle to drown out the American Dream as it careens into the ditch_ "WAR" is a an album full of brazen rhythms, serpentine riffs, walls of feedback, and howls of contempt. It is an album that is as rowdy and boisterous as it is anxious and savage. "Helmet comparisons are understandable but Helmet wishes they sounded this authentic and convincing in 2024", Heavy Mag wrote in their rave review, and Rolling Stone included "WAR." in their 20 best metal records of 2024. "It pisses me off when people talk shit about us. They don't know the lengths I go through to keep this band going" says guitarist/vocalist Christian Lembach in an interview with New Noise Magazine on why it's taken eight years between albums. Personal issues, accidents and then the pandemic presented obstacles for the band. Lembach injured both of his knees and tore the meniscus in his right one, and he broke both elbows and his ribs in an accident at his day job. WHORES. have dealt with setbacks that would have killed other bands, but instead it's made them stronger. And Lembach's high standards haven't exactly accelerated the making of "WAR": "It takes a while because I need to make a record I can stand behind. I just don't want to put anything out to just do it. I never think the one I'm working on is a masterpiece. To me the masterpiece is the next one", he says. "Lyrics are the most important part to me. Not the riffs not the song structures but the actual words" Lembach elaborates. "I always have the title before I write the lyrics. All the lyrics and song titles fit thematically into the album title. In this case I did a lot of soul searching. I was trying to figure out what it takes to be happy. I had to confront the ugly parts of myself. The title isn't political, it's about conquering the ugly parts of yourself." "WAR" is a battering ram of a live band, slugging like a doomsday clock towards midnight. Originally self-relased in 2024, we are happy to finally release in Europe what we're sure will become a noise rock genre-classic. PRESS "time is just a construct and Whores. are forever" - Everything Is Noise " ein weiterer musikalischer Schlag in die Magengrube" - Visions 10/12 " Frontman Christian Lembach is not so much a singer as a verbal assailant a spitting cobra of a human who leaves you drenched in his venomous wordplay." - Heavy Mag FOR FANS OF CHAT PILE, HELMET, HIGH ON FIRE, KEN MODE, INTERCOURSE, UNSANE, NAILS

The Scream, Siouxsie & the Banshees' first album, was released late enough in the punk era to bear some claim as the first post-punk album, with only a minor traces of 'punk' (one lingering early song, "Carcass" comes to mind) and enough hints of what had come even earlier, Andy MacKay-like saxophone flourishes - to feel utterly new. Not to mention the effort producer Steve Lillywhite must have put into the album, his first fully-credited major label production. Siouxsie was clearly the focus of the band, with her unique vocal style and lyrics, but the real star, we've always known, was John McKay, who wrote most of the album's music (as well as singles like "Hong Kong Garden"), creating a wholly new guitar sound - harsh and brittle, yet melodically intoxicating . . . best articulated by a somewhat confounded Steve Albini years later ". . . only now people are trying to copy it, and even now nobody understands how that guitar player got all that pointless noise to stick together as songs". McKay's influence lives on; many of the most influential guitarists of the past four decades credit him as a major influence - Geordie from Killing Joke, Jim Reid of The Jesus And Mary Chain, U2's The Edge, Thurston Moore, Johnny Marr and even the two guitarists - The Cure's Robert Smith and Magazine's John McGeoch - who followed him in The Banshees. McKay's burgeoning status as the anti-guitar hero was halted when he and Banshees drummer Kenny Morris - at odds with Siouxsie and bassist Steve Severin - fled the band just after the start of a tour supporting the group's second album, Join Hands. It was a weekly music paper scandal, later the subject of a BBC documentary, and Siouxsie's vitriol working its way into the lyrics of a later Banshees b-side, "Drop Dead / Celebration". Aside from a solitary single on Marc Riley's In Tape label nearly a decade later, no music was heard from McKay again. So it comes as a major surprise to learn of a pile of excellent recordings made in the years just after he left The Banshees, unheard by all but a very few, some of which feature drummer Kenny Morris, plus Mick Allen from Rema Rema, Matthew Seligman of the Soft Boys and longer-term collaborator Graham Dowdall and John's wife Linda . . . the latter three of whom now all sadly deceased. Sixes And Sevens is an historic lost album. Brazenly genius and bearing fair claim as the lost treasure of the post-punk era, the album collects eleven studio tracks, carefully mastered from original tapes. It's a masterpiece which best speaks for itself.

The Scream, Siouxsie & the Banshees' first album, was released late enough in the punk era to bear some claim as the first post-punk album, with only a minor traces of 'punk' (one lingering early song, "Carcass" comes to mind) and enough hints of what had come even earlier, Andy MacKay-like saxophone flourishes - to feel utterly new. Not to mention the effort producer Steve Lillywhite must have put into the album, his first fully-credited major label production.
Siouxsie was clearly the focus of the band, with her unique vocal style and lyrics, but the real star, we've always known, was John McKay, who wrote most of the album's music (as well as singles like "Hong Kong Garden"), creating a wholly new guitar sound - harsh and brittle, yet melodically intoxicating . . . best articulated by a somewhat confounded Steve Albini years later ". . . only now people are trying to copy it, and even now nobody understands how that guitar player got all that pointless noise to stick together as songs". McKay's influence lives on; many of the most influential guitarists of the past four decades credit him as a major influence - Geordie from Killing Joke, Jim Reid of The Jesus And Mary Chain, U2's The Edge, Thurston Moore, Johnny Marr and even the two guitarists - The Cure's Robert Smith and Magazine's John McGeoch - who followed him in The Banshees.
McKay's burgeoning status as the anti-guitar hero was halted when he and Banshees drummer Kenny Morris - at odds with Siouxsie and bassist Steve Severin - fled the band just after the start of a tour supporting the group's second album, Join Hands. It was a weekly music paper scandal, later the subject of a BBC documentary, and Siouxsie's vitriol working its way into the lyrics of a later Banshees b-side, "Drop Dead / Celebration". Aside from a solitary single on Marc Riley's In Tape label nearly a decade later, no music was heard from McKay again. So it comes as a major surprise to learn of a pile of excellent recordings made in the years just after he left The Banshees, unheard by all but a very few, some of which feature drummer Kenny Morris, plus Mick Allen from Rema Rema, Matthew Seligman of the Soft Boys and longer-term collaborator Graham Dowdall and John's wife Linda . . . the latter three of whom now all sadly deceased.
Sixes And Sevens is an historic lost album. Brazenly genius and bearing fair claim as the lost treasure of the post-punk era, the album collects eleven studio tracks, carefully mastered from original tapes. It's a masterpiece which best speaks for itself. John McKay will be made available for a limited number of interviews . . . and yes, there are surprises in store.

Tone Def were one of the original batch of artists to sign to Moving Shadow back in 1991, who brought there early demos into the studio with label head honcho Rob Playford, releasing 4 records on the label between 91-92. At the same time Rog from the band was also building speakers and installing club and free party sound systems. His skills were unchallenged and he soon went on to be one of the top speaker/system makers in the UK, if not the world with his company Void Acoustics.

But not all the band’s music from back then ended up on Moving Shadow … some of it was lost to ¼” tape and forgotten about until 2019 when Vinyl Fanatiks reached out to the band, being that we are all Bournemouth based. Rog dug out the tapes and went through them, finding many tracks which have been released on Vinyl Fanatiks and sister label Acid Boom.

This is the final chapter of the lost tapes – two tracks written in 1992, finally getting a release after 31 years!

Big Love for Big Music!

Bob Moog’s invention of the analog Moog synthesizer ignited an explosion of creativity across the music spectrum. On the classical side, there was Isao Tomita and Wendy Carlos; on the more avant-garde side, such artists as Mort Garson and Craig Leon used the new technology to explore the limits of sound production while rockers like Keith Emerson incorporated the technology into their music. And, of course, there was also a silly pop side to the synth mania, or “moogsploitation” as some wags put it; albums by The Moog Machine, The Happy Moog, and other similarly-entitled acts provide good examples of that. But the one man straddling all these camps was Gershon Kingsley. Kingsley studied with John Cage before making a pair of groundbreaking albums with fellow electronic music pioneer Jean-Jacques Perry (their “Baroque Hoedown” was the theme for the Main Street Electrical Parade attractions in Walt Disney theme parks). Kingsley then embarked on a solo career and scored an instant hit with this album, 1968’s Music to Moog By, and its signature track, “Pop Corn.” “Popcorn” (one word) became an international smash for Hot Butter four years later, but Music to Moog By also caught consumer ears with its blend of originals, classical, and especially versions of Beatles tunes (though you will have to excuse the egregious misspelling of “Paperback Writer” as “Paperback Rider”)! Ever in pursuit of pop music’s most eccentric manifestations, we at Real Gone are proud to reissue Music to Moog By for the first time in the U.S., complete with the 8-page “The Book of Moog” that was inside some original copies. Strawberry with black swirl pressing limited to 900 copies!

In 2005, the Grand Rapids band Still Remains dropped their first studio album Of Love and Lunacy, and since that time its reputation has only grown as one of the great lost classics of the metalcore genre. Now, with full support of the band, we at Real Gone are releasing Of Love and Lunacy on vinyl for the first time to celebrate its 20th anniversary. It’s not just the musicianship that sets this record apart, though this band’s ability to punctuate pummeling passages with fantastically progressive melodic interludes is definitely one of its calling cards. It’s also the impassioned poetry of the lyrics, which often employ startling, spiritually-tinged imagery to express extreme states of emotion. Too sensitive for some? Maybe. But it also rocks like all get-out, especially in this remastered-for-vinyl (by Mike Milchner at Sonic Vision) edition. Jungle swirl pressing at Gotta Groove Records, limited to 750 copies, complete with a color printed inner sleeve with lyrics.

Chiminyo is a UK-based jazz/electronic artist and the founder of the new label NRG Discs (having previously released on Brownswood, Nightdreamer, Gearbox, and Astigmatic, with artists such as Gary Bartz, Shabaka Hutchings, Maisha, Nubya Garcia, Cykada, Uniri, as well as solo). Chiminyo is a versatile musician who blends the raw energy of live drums and percussion with cutting-edge electronic production.

His early solo releases showcased his knack for unique approaches to making music, using self-coded software to trigger synths and samples from every cymbal crash and drum hit, eliminating loops and click-tracks. This DIY, tech-driven methodology allowed Chiminyo complete, spontaneous control over his music—all from the stool behind his drum kit—creating a sound that is both daring and innovative.

Chiminyo's latest project, NRG, continues this trend of innovative thinking. Born from discussions around the UK jazz scene, Chiminyo concluded that this musical expression is less about "jazz" and more about the energy (NRG) that fuels it. As a result, NRG has evolved into a semi-regular event where Chiminyo brings together some of London's finest musicians for live, improvised performances that encapsulate the spirit of the scene. These live recordings are then given the magic production treatment by Chiminyo and co-producer Aviv Cohen, transforming them into the masterpieces we get to hear on wax.

The first three NRG LPs were a massive success, generating over 600,000 streams, selling over 800 copies (without distribution support), and receiving airplay on BBC Radio, Jazz FM, NTS, Soho Radio, and many more. High-profile DJs like Gilles Peterson and Jamz Supernova championed the albums, which were also covered in print by The Guardian, Jazzwise, Echoes Magazine, and various online channels. This success led to an invitation to record a live album at Ronnie Scott's, one of London's most iconic jazz venues—an incredible opportunity for any artist.

NRG 4 brings together some of the best jazz and electronic musicians in London. The album features Marisia Osu (harp), James Akers (tenor saxophone), Daniel Casimir (double bass), Lyle Barton (synthesizers), and Tilé Gichigi-Liperé (live electronics)—an all-star lineup whose members have released multiple records on Concord, Brownswood, Jazz Re:freshed, Astigmatic and more, and have collaborated with artists such as Laura Misch, Nubya Garcia, Blue Lab Beats and Emma-Jean Thackray. Three tracks are graced with features from Jorja Smith's backing vocalist BAELY and Cuban saxophone maestro Regis Molina.

Limited to 400 12" LPs (350 standard, 50 screen-printed limited edition).

Full throttle from Vancouver, BC to wherever the open road takes them The Vicious Cycles are BACK with their new LP Get Wrecked on Pirates Press Records! Before you even get the shrink wrap off the gatefold jacket, you can guess what kind of party you're in for. "Our pal Shakey Deal is the cover model," says Cycles head honcho Billy Bones. "A tuff looking scrub on a minibike says a lot about who we are." And who is that exactly? "We play garage/punk rock and roll songs about motorcycles. We like to have a good time." The promise of debauchery carries over into song titles like "Naked On a Beach," and "On Fire in the Hot Tub." As rip-roaring, danceable party music goes, it's second to none, and rest assured there's plenty of bike enthusiast inside baseball, but the lyrics often go deeper than a superficial glance might indicate. For example, the lead single, "Hold On Tight," is about, as Billy puts it, "the physical feeling of riding with your favorite person on the back of your motorcycle - easily one of the best feelings a human can have." So, a classic biker anthem? "But also," he's quick to add, "a metaphor for life and relationships. We're gonna make it." Waxing philosophical with motorcycles as allegory over chrome-plated punk rock 'n roll? That's The Vicious Cycles' songwriting in a nutshell. Another album highlight, "Daddy Was a Gambler" references Billy's father - an ex-preacher who regularly hauled his kids to Circus Circus in his '57 Chevy - and his mother, a nurse and, as Billy puts it, "as close to an actual saint as anyone in the world. The song is an appreciation for the two of them, and how their differences made me who I am." "Naked On A Beach" sounds like a party, but Billy explains it's "a critique of capitalism and the tiny lives we're expected - and sometimes content - to live." Even the title track, "Get Wrecked," is more than just a statement of defiance; it's a message to Billy's son about dealing with the conformist naysayers of the world. Longtime fans & newcomers alike will be stoked for the straightaways, but stick around for the twists and turns, just like any good ride. The band brings in pals on strings & saxophone for a 60s Wall of Sound-inspired production on "Black Boots, Black Leather Jacket," and try their hands at their first murder ballad on "Pretty Hands." There's an instrumental tune ("Blowing Smoke") and hell, there's even a deep cut cover of "Trouble Again" - originally performed by Stewart Copeland of The Police - which only the biggest nerds of a certain age will recall as the theme song to the 80s Star Wars animated series Droids! In the end, no matter the detours, the band - along with Jesse Gander (Territories, Comeback Kid), & Mariessa McLeod at Rain City Recorders - kept their eyes on the prize: sing-along choruses, handclaps, and short songs that get the job done and don't overstay their welcome. "I didn't want us to write a record that you could dance to." quips Billy. "I wanted us to write a record that you couldn't not dance to."

Follow up to the debut 12" EP that was pressed, sold out, repressed, sold out, and pressed again.
They're currently mastering their debut album (recorded by Sam from Pigsx7), it's due in the Autumn on Wrong Speed.
To keep the merch table hasslers happy WSR have pressed this super limited 7", with two cover versions on the B-Side.
In the last 12 months the band have been named One's To Watch by BBC Introducing, had numerous Radio One plays, had a live 6Music Session for Riley + Coe, and have shared stages with Benefits, Big Joanie, Swami John Reis, House Of All, Uranium Club, and more.
The next 12 months for IRKED are gonna be big

Blue Sky Vinyl. Teethe is a band from Texas. The members of Teethe met while attending the University of North Texas in Denton, TX, a small college town outside of Dallas with a fertile music scene. Before forming Teethe, its core members Boone Patrello, Grahm Robinson, Madeline Dowd, and Jordan Garrett all played in various other groups in Denton, releasing music under different pseudonyms. Patrello released solo music via his Dead Sullivan moniker, while Robinson released under MAH KEE OH. Patrello and Robinson linked up with Dowd to record an album for her project, Crisman, in 2019. They all eventually moved in together, leading the group to start recording more as a whole unit, and subsequently Teethe was born.Made over the course of 2020, Teethe's eponymous debut album is a collection of songs pieced together over time - a sonic collage of fragmented recordings and half finished tracks made whole in the midst of isolation. Initially self-released in November of 2020 with little fanfare, the album's warm, lo-fi aesthetic and slow, calming songs spread by word of mouth. Roughly one year later, at the top of 2022, the band returned with "Tag", a new single that caught the attention of slowcore fans and garnered shout outs from unlikely celebrities. Tours soon followed with Charlie Martin of Hovvdy, Momma, Milly, Waveform, and They Are Gutting A Body of Water. The band continued to record their own music, releasing another single, "Lucky," in the fall of 2022, and most recently partnered with Saddle Creek for their 7-inch series to release their newest single, "Moon," in October of 2023. Now spread between Dallas and Austin, the Texas band has recently signed with Winspear and will be re-issuing their self-titled debut LP this winter, along with a pressing of "Tag," "Lucky," and never before released b-side "Thanks" on 7-inch vinyl.

FABRICLIVE’s new incarnation as an artist-focussed label continues, with a stunning two-track 12” by the Hong Kong-born, Netherlands-based rising star Kiana Li, aka gyrofield.

Rooted in drum & bass but distinctly the sound of now, this single sparkles with freshness, and stands-out with an exquisite verve for detail and craft. Balmy and comforting, atmospheric and melodic, the cloudsurfing breakbeats and celestial propulsion of ‘Akin’ is pure friendly pressure, whilst on ‘Mother’ big vocals, low-end precision and techno swathes soar even higher.

“'Akin' and 'Mother' remind me of my earliest days writing dance music. These are two free-spirited, transportive pieces that feel like spreading my wings and letting the air take me. Brought skyward in the hand of fate, nurturing yet weathered by my very own ideals. We all wish for better days. And toil to heal.” gyrofield

gyrofield has released music on prominent labels including Critical, Overview and Noisia's Vision. Last year she released the album A Faint Glow of Bravery on Metalheadz, and the EP These Heavens for XL’s prestigious house bag series, which has previously showcased music by Blawan, Joy Orbison and Overmono.

gyrofield is a regular on NTS and an in-demand DJ, whilst radio/club support has come from Mary Anne Hobbs, Objekt, Special Request and DJ Flight. Press fans include Rolling Stone, Crack, The Quietus, The Fader, DJ Mag and Resident Advisor.

“Scintillating - a sonic portrait of heaven that takes drum & bass and imbues it with the divine” Resident Advisor

“An artist whose journey and sound are quite unlike those of anyone else” The FADER

“Her vivid productions are a breath of fresh air in the scene” DJ Mag

“Merging the atmospheric and experimental with the melodic and emotional” Crack

“Packed with shapeshifting sounds that examine the universe and beauty of nature. Fusing atmospheric and spaced-out sounds with danceable sonics” Dummy

"She will never sit comfortably in any one genre or play to expectations or rely on any standard production formulae” UKF

Back with a bang for 2025, FABRICLIVE re-enters the fabric Records fold, which also incorporates Houndstooth and fabric Originals.

'Atmospheric death metal'. Three simple words to describe one's music, chosen by JADE mainman J. himself, although they don't seem to quite pay justice to the gigantic scope of their music. Because ever since the release of their debut demo back in 2018 they've proven again and again to be more. Much more. Historically speaking, the word 'jade' referred to a rare but valuable mineral in ancient times all over the world. From Mesoamerican cultures to Chinese and Southern Asian ones, the greenstone was conferred with deep spiritual symbolism and used to connect the earthly level to the unknown. The history of countless traditions, legends and cults remain as an endless source of topics in terms of lyrics for the band, with a rich historical narrative also poetized. JADE's music is described by J. as "a tribute to the timeless obscure metal language, from early death/doom manifestations to later atmospheric black acts, in a really heavy, intense and epic form which transcends ages, as the greenstone cult has endured." The sophomore album, and second full-length after last year split LP with SANCTUARIUM, Mysteries Of A Flowery Dream carries an ominous wave of darkness, redefining heaviness with new levels of musical production and arrangements, compared by J. to "a journey into the dialogue between conscious and subconscious dreaming states and the mysteries around." The album's lyrics are in direct line of those themes, echoing the celestial world and how it can help us overcoming ominous times ("The Stars' Shelter"), how dreams can be interpreted as omens ("Light's Blood") and how they allow us to travel the Mayan cosmovision and its various worlds for guidance, healing and messages ("Shores Of Otherness"), among others. You can even find on the cover artwork elements of the ancient Mesoamerican cosmovision, mainly the powerful moon goddess Ixchel, a creative yet destructive entity, portrayed here as the Spider and threading human fate like an umbilical cord, determined to give life but also to destroy it if needed. A frightening, fragile yet utterly fascinating balance perfectly illustrated by Mysteries Of A Flowery Dream.

I’m Sad as Hell and I’m Not Going to Fake It Anymore is the best, sharpest, briefest, and fourth record from Paper Castles, the band fronted by Jericho, Vermont’s Paddy Reagan. In one way, it’s a simple and modest collection of nine fuzzy guitar-led pop songs. The title, a play on the iconic scene from Network (written by Paddy Chayefsky), can be clocked as nothing more than that at first glance, playful. But like the music behind it, Reagan thinks you can sit with the title if you want.

I'm Sad as Hell... was tracked by Benny Yurco (Michael Nau, Lily Seabird, Robber Robber) in a little over eight hours across two days, a testament to the quartet’s perfection of these songs on stage, and to Yurco’s comfortable Little Jamaica Recordings in Burlington.

Tompkins and Mangan lock into a wonderful foundation for Kitz’s lolling guitar lines on “Clean + Organized,” while on “Avalon,” the band sings harmony for the most ironic line in the waltz (“We don’t really want company”) before their instruments explode into technicolor. “Lying Here” showcases PC deftly navigating washed out verses and tight knit, twangy choruses, all in a tidy, under-three minute package.

Lyrically, Reagan is at his finest: playful and savage, biting and beautiful. Double entendres and clever wordplay abound—a line like “it's not the ideals but the high heels that’ll make you a man” from “Modern Myth” will make you wish John Prine was still around to hear it. On “Name Changer,” when Reagan sings “I’ll never change my name again / Got a real good handle and I don’t want to give it in,” what kind of “handle” is he referring to? I’d like to think Elvis Costello would smile at most lines in the Attractions rave-up “Content Creator.”

Eduardo Mateo & Fernando Cabrera come together to offer a cycle of live music, where both authors interpret their creations in a special way. They achieve remakes of songs that from this encounter become anthems of Uruguayan music such as "Por ejemplo", an essential piece of Uruguayan music of all times. Recorded live and released in 1987 in Montevideo, Uruguay. This album is the most professional record of the duo that Eduardo Mateo and Fernando Cabrera formed for a period of a few months. These two great composers, performers and arrangers from different generations, premiered with the duo several beautiful new songs, in addition to concocting together renewed versions of some of the classic tunes from each one's repertoire. It is an intimate and acoustic work. Fernando Cabrera's guitar appears many times backed by the tasty and peculiar percussion of Eduardo Mateo, and there are also grooves with precious arrangements of two guitars. The duo of Mateo and Cabrera was a milestone for the careers of both.

A forgotten tale, long buried beneath the snows of time, is about to be retold. “Midvintersagor” (‘Midwinter Sagas’) is the first music ever composed by Örnatorpet, a landmark in both personal and artistic discovery. Originally self-released in a small cassette run, this unaltered reissue allows listeners to experience the album exactly as it was conceived – pure, unrefined, and brimming with the wonder of creation.

At its core, “Midvintersagor” is a soundtrack to an unwritten legend. Each track weaves a narrative steeped in medieval fantasy, channelling the essence of forgotten folklore and the grandeur of winter’s stillness. Inspired by the interludes and atmospheric passages of 90s black metal, Örnatorpet sought to craft an instrumental world as evocative as the landscapes of his native Sweden.

Since its inception in 2018, Örnatorpet has become one of the foremost torchbearers of dungeon synth. With no formal musical training, he followed only instinct and inspiration, carving out a path that has since led him to the forefront of the genre. “Midvintersagor” is where that journey began – an unpolished gem gleaming with the spirit of discovery, now unearthed for a new audience to behold.