Cerca:one one one

Founded in 2001, Minus the Bear have worked relentlessly over the past 12 years to build a large and devoted following worldwide via consistent releases and non-stop touring. The band has released five full length LPs (Highly Refined Pirates in 2002, Menos el Oso in 2005, Planet of Ice in 2007, OMNI in 2010, Infinity Overhead in 2012) along with various EPs. They have toured throughout the US, UK, Europe, Mexico, and Canada. They have played countless sold out venues throughout the world and have been invited to perform at festivals in the US and abroad. They have played as support to bands such as Foo Fighters, Soundgarden and Jimmy Eat World. In Winter 2008/2009, Minus the Bear released an EP called Acoustics featuring newly recorded acoustic versions of fan favorites from the quintet's prolific career along with one new track. Limited to 5000 copies of vinyl, Acoustics is now out of print. Acoustics II, the second volume in the acoustic series, is a full LP containing eight newly recorded and reinterpreted standout tracks in addition to two brand new songs: "The Storm" and "Riddles." Acoustics II is sure to please longtime fans and welcome new fans to this critically acclaimed rock band.

On her new album, ‘Almost in Your Arms’, Claire returns to a previous successful formula: her highly experienced Swedish trio of pianist, Martin Sjöstedt, double bass player, Niklas Fernqvist and drummer, Daniel Fredriksson accompanied by several superlative guest musicians. The songs Claire has chosen for the trio indicate her wide-ranging interest and knowledge in the many sub-genre areas of popular music and jazz. Claire’s innate enthusiasm for fresh stimulus and intriguing contrasts was invested in assembling a selection of material which she, with the assistance of James McMillan, found strong personal resonance with. Claire Martin is one of the most accomplished and inspired jazz singers in the world today. Full stop. This is a statement that would find virtually universal agreement with jazz writers, reviewers, broadcasters, listeners and live-performance audiences.

For the first time two single records of Baksey Cham Krong - the first Cambodian guitar band - are officially being reissued in an identical version. Between surf music and ballad, these two records released in 1963 and 1964 are an invitation to rediscover the effervescent Khmer musical scene of the 1960s.

The early 1960s are often described as the “golden age” of Cambodia, with a flourishing economy and a strong cultural development. As the country had just won its independence, the King Norodom Sihanouk - who had been a singer himself (see below) - encouraged dynamism and creativity in all aspects of cultural life.

In 1959, in the midst of this artistic turmoil, Mol Kamach and his brothers created a band: the Baksey Cham Krong (also spelled Bakseis Cham Krung) named after a temple of the Angkor site. The teenagers were influenced by the latest hits they had listened on the radio. For the music, Kagnol got his inspiration from the rock n’ roll of the Ventures and the Shadows while Kamach took over the vocal techniques of crooners such as Paul Anka. The lyrics were either in French (as for the song Ne penser qu’à toi) or in Khmer. The song Pleine Lune became a hit and revealed Kagnol’s musical genius at playing guitar and Kamach’s delicate voice. From their beginnings on the capital’s high school stages to their first broadcasts on national radio, the success of the Baksey Cham Krong was very quick. At the end of the decade the band already split, the brothers getting back to activities that conformed more with their parents’ expectations.

A few years later, in April 1975, the arrival of the Khmer Rouge in Phnom Penh put an end to this musical development and started the darkest era of Cambodia’s contemporary history. A quarter of the population was killed in the Khmer Rouge genocide and the majority of artists and intellectuals were exterminated in a sordid will to wipe out any form of culture in the country. Films and music were banned, movie tapes and vinyls were destroyed. Mol Kamach and Mol Kagnol luckily managed to flee the country: one now lives in France, the other in the USA. Both still continue to make music nowadays.

Bearing witness to the past history, the reissue of these two single records of Baksey Cham Krong brings back to us the Cambodian musical scene of the 1960s.

Sometimes, in order to readjust yourself, you need to free yourself from what you know best and detox from your constantly connected life. In the case of Philipp Lorenz, it specifically came down to embracing the countless possibilities that buzz around the edges of today’s dance floors, sealing himself off from any new music, and leaving his familiar setting in Berlin in favor of making new experiences in Italy’s capital.

Lorenz is best known as one half of producer duo Feeling Valencia and the founding member of acclaimed club
outfit Gheist. Under the newfound Bi Disc moniker, he now reveals a musical spectrum that aims at nothing less
than offering the most authentic version of himself.

“Pieces, Falling“ marries the analog with the electronic, and hints at the numerous musical influences of the
renowned composer. Mixed by famed German producer Olaf Opal, the result is a beautiful, deeply personal, and triumphant album filled with cluttered collages made from strings, manic drumming, field recordings, vocals, and layered melodies. Where other producers try to effectively build their songs to something anthemic, Bi Discs debut delivers one elaborate, victorious climax instead, where nothing feels forced but deeply felt.

Late-night jams in their new studio sees Jazzbois return to their beat-tape roots on Still Blunted

Having established themselves as one of the leading live bands in Europe grooving in improvised jazz motifs and hip-hop beats, Budapest trio Jazzbois return with their fourth LP Still Blunted that sees them touch base with their beat-tape roots.

Now situated in the heart of Buda at their new studio above a club, the Hungarian trio of Bencze Molnár (Rhodes/synth), Viktor Sági (bass) and Tamás Czirják (drums) take a more considered approach to Still Blunted and offer a snapshot into the jams, sessions, and shows they have played over the past year. The new album comes after performing at the legendary Montreux Jazz Festival this summer and will be followed by a European tour in October.

Inspired by contemporaries Domi and JD Beck, Kiefer, Nala Sinephro, and the sounds of Radio Juicy, Jazzbois have been more critical of their track selection for the sequel to their Goes Blunt albums. They’ve ripped up their playbook of producing records in a matter of days and took their time to approach the record through reworking their favourite tracks recorded over the past year.

“We’re trying to keep the same formula but there was a lot of thought gone into the process of making an improvised jam sound like a song. It has to be good in the moment, and we chose the ones we felt were expressive and resonated the most with us musically. We focus on our feelings in the moment and have trust in our own taste and music visions.”

The trio’s new studio has offered them the space and time to get the best out of their creativity. “This new spot is a Jazzbois headquarters. It’s above this club, sometimes there's a DJ playing outside on the street – everyday there's something on and lots of people coming and going. We hang out for the whole day and just record anything or edit.”

Jazzbois are a part of the rich, underground jam scene in Budapest, and those improvised-led sessions have fed into Still Blunted. One of their late-night jams turned after-parties produced sketches for tracks they selected for the album.

“It was the end of a wild night celebrating getting the album done. We’re having a jam and we looked around while we were recording and there was twenty people smoking and drinking around us – half of them we didn't even know who they are. It turned into an open after-party where people were coming to ours from the club. It was very spontaneous and unexpectedly, we made five or six new songs we ended up using for the album.”

The ethos of those unplanned, open jams is something they carry through into their live shows, as they never rehearse so their music can develop freely. Their trusted fourth ‘live’ member DomBeats joins them on Still Blunted adding saxophone to some of the psychedelic-tinged beats, such as on singles Shangri La and Chrome. After recently digging back into 70s and 80s jazz, discovering more hip-hop sampled tracks, and absorbing the breaks and high-energy of footwork and juke, these influences come through strong across Still Blunted.

The footwork sound is replicated in the shuffling, busy drums of Shangri La, with the echoing guitar twang reminiscent of a sample you may hear on an MF Doom beat. “Shangri La was a catalyst for the new album. It reflects on our trip to America and SXSW. We played at this venue Shangri La. The Texan air and sun are in that track.”

Chrome takes on a much more furious style of playing that allows for the drums to cascade and flow along with the pulsating, chromatic bass line, with the synths and saxophone spiralling into an engrossing frenzy. The liquidy keys and synths glides over the bass on Flute Thang, creating a 70s jazz-funk vibe that stands out from the rest of the album.

With hundreds of thousands of monthly listeners across Spotify and Apple Music, they have become a playlist staple that has earned them millions of streams since their debut release Jazzbois Goes Blunt in 2019. As more live dates are booked for the Hungarian trio, Jazzbois continue to transform the traditional jazz trio sound into deep, groove-led beats on Still Blunted.

The ‘20 Years Of Shogun Audio’ LP consists of 10 remixes of Shogun’s most legendary tracks and 10 groundbreaking new cuts from a selection of drum and bass’ most exciting talent. Featuring new music from Friction, DJ Marky, Break, Pola & Bryson, Monrroe, Emily Makis, Technimatic, Icicle, S.P.Y, Lens, GLXY, Sustance, Duskee, Javeon, Flowdan, SP:MC, Document One, Deadline, GEST, Watch The Ride, Total Science, Lenzman, Particle, Levela, Emperor, Subwave, Dynamite MC, IYAMAH, Note and many more, this is the ultimate collector's piece for any drum and bass fan. 

For any Shogun Audio fan, this is the ultimate collector's piece, featuring our ‘20 Years Of Shogun Audio’ LP across 4LP vinyl, as well as our ‘20 Years Of Shogun Audio’ coffee table book beautifully housed in a bespoke presentation box embossed with gold foil and a magnetic clasp.

The perfect-bound 80-page coffee table book delves into our two decades of history through in-depth interviews with our founders Friction & K-Tee, as well as a range of artists past and present. Accompanied by beautiful full-colour photography from the archives throughout, this book is an essential for Shogun fans and D&B enthusiasts worldwide.

Continuing our quest to get all of the classic early AMT albums released on vinyl, we turn to 2004’s 'Mantra Of Love’, and with the help of Makoto Kawabata’s studio wizardry, we’ve made it possible.

This latest instalment in the ‘Acid Mothers Temple Vinyl Archives - First Time On Vinyl’ series (as with the three previous SOLD OUT releases in the series) have all been meticulously put together with the help of Makoto Kawabata with the original CD artwork recreated for these vinyl editions from archive photos stored in the vaults at the Acid Mothers Temple in Osaka, Japan and the original audio remastered by James Plotkin.

Here’s what others had to say upon it’s original CD only release back in 2004 …

“Acid Mothers are strong folk. You'd think they'd tire quickly, all tucked away on their island, strewn about on tree roots while baking their lungs and throats to a knotty green tinge. But instead of waltzing through life like hippies, they manage to not only tour and put out records every year, but also to fill those albums with 30-minute jams and assorted freakouts. And while evil jam bands would fill that space with guitar work taken from the Classic Rock Manual of Clichés, Makoto Kawabata and company assault listeners with frighteningly dense walls of white noise, psychedelic swirl effects and, yes, even guitar solos-- albeit ones that are more Merzbow or Keiji Haino than Gary Rossington. Truly, AMT's endurance and threshold for cosmic lashings are both worthy of admiration.

But how much AMT can you take in one sitting? If there's anything this band has taught us-- via records such as 2002's Electric Heavyland and the ferocious Acid Mothers Temple & the Melting Paraiso U.F.O-- it's that they're not afraid to reach for the upper regions of consciousness. On Mantra of Love, they offer two titles over the course of one hour, never faltering along the way, and it's as if we listeners are just brief visitors passing through a never-ending, spontaneous group trip. For all I know, Kawabata has hundreds of hours of this stuff on his hard drive-- at any single moment, this record's sheer volume of sound is a clamor to behold. However, if you aren't dialed into that the particular space AMT inhabits (for me, it's the mystical fire-baptism standby), you might not hear their glorious noise for all the, well, glorious noise.

"La Le Lo" begins as a lengthy psychedelic ballad sung by Cotton Casino (who doubles on "beer & cigarettes"), who is accompanied by her own ghostly backing vocals. The band is playing a mantra as Casino waxes earth-mother stylings to the moon. The serenity is broken by a patented AMT rave led by Kawabata's electric sitar (!) solo. Ace rhythm section Tsuyama Atsushi ("monster bass") and Koizumi Hajime hold things together, as does the generally decent recording quality (not a given for these guys), but the real money is in effects-- lots and lots effects. Much like France's Richard Pinhas or AMT's countrymen in Les Rallizes Denudes and High Rise, the band understands the collaborative power of solo + overdriven Moog sirens and screams. And, also like those artists, Acid Mothers can go on all night if need be. About 25 minutes into this piece, any hell that hadn't already broken loose gets its due, and the band speeds to a fiery climax before winding down into glimmering astro-ambience.

The second track, "L'Ambition dans le Miroir", also begins as a minor ballad featuring Casino's haunting solo vocal. The Mothers set her up with a faux-blues drag and a thick buffer of synth-rays; when Casino actually enters, she fights for airtime with an array of falling stars and cosmic dust. However, this time there is no overwhelming solo to power the comedown. Casino intermittently coos in the background while droning horns keep the auxiliary pixie haze from evaporating. As they showed on In C and La Novia, AMT are more than adept at creating calmer storms-- listeners just have to catch them in the right light. Mantra of Love doesn't necessarily capture the most inspired moments in their canon but as usual with this band's records, it's rarely at a loss for moments of horror or grandeur.”

Acid Mothers Temple & The Melting Paraiso U.F.O. : Cotton Casino - Vocal, Beer & Cigarettes - Tsuyama Atsushi - Monster Bass, Vocal, Cosmic Joker - Higashi Hiroshi - Synthesizer, Dancin' King - Koizumi Hajime - Drums, Percussion, Sleeping Monk - Kawabata Makoto - Guitar, Bouzouki, Electric Sitar, Violin, Hammond Organ, Speed Guru

The iconic fifth album Houdini by the Melvins captures the band's power, vision, and musical strangeness. It's an essential '90s release, combining elements of grunge with hard rock and sludge metal. Their biggest commercially success and first major label release is an album where they displaying the full width of their musical abilities. Buzz Osbourne's guitar sound is deep and heavy and combined with Dale Crover's powerful drum rolls and fills it sounds really impressive. Kurt Cobain (Nirvana) added his guitar skills to the track 'Sky Pup' and can be heard as a percussionist on 'Spread Eagle Beagle'. It's one of the most accessible Melvins albums and the gateway to explore more records by the band. Houdini is the ultimate Melvins classic and a must have for every grunge and music fan in general.

Einer der größten Italo Disco Hits aus dem Jahre 1983 jetzt wieder als 12“ Maxi Single erhältlich:
Ryan Paris – Dolce Vita

Vor genau 40 Jahren wurde dieser legendäre Italo Disco Song erstmals veröffentlicht: Aus diesem Anlass gibt es eine farbige Vinyl in streng limitierter Auflage und Remixen von Flemming Dalum und Van Edelsteyn.

One of the biggest Italo Disco hits from 1983 now available again on 12“ Maxi Single:
Ryan Paris - Dolce Vita

Exactly 40 years ago this legendary Italo Disco song was released for the first time.
On this occasion we are proud to present a strictly limited edition on colored vinyl featuring also remixes by Flemming Dalum and Van Edelsteyn.

Now celebrating its 30th anniversary, and arriving as a specially expanded edition to mark the occasion, the Murder Was The Case soundtrack remains an iconic work in hip-hop history. Originally accompanying the short film directed by Dr. Dre and Fab Five Freddy, this album embodies the essence of West Coast gangsta rap of the 90s. Featuring tracks from legends of the game like Snoop Dogg, Tha Dogg Pound, and more, it captures the gritty realities of street life with raw lyricism and infectious beats. From the haunting title track to the catchy grooves of 'Natural Born Killaz,' each song immerses you in the vivid world of the film and the era's burgeoning rap scene.

Finding herself in different emotional and physical spaces over the past years, The Hague-based Seina creates four ambiguous tracks for Juni, her debut EP out on Präsens Editionen. The material, which comfortably sits between ambient, glitch and noise, feels like a long-overdue update of Mille Plateaux and Raster-Noton's golden days. The result, however, is much richer in texture and much more sensual than these dinosaurs of electronic music.
On Juni, Seina, who has a background in electroacoustic music and live performance, layers a range of source material created with different means and techniques—from Supercollider-generated elements, to field recordings gathered in Finland, France and The Netherlands, to analog electronic instruments, digital feedback and manipulated human voices.
The EP, which is partly composed and partly improvised, does not point in one particular direction but in many at the same time, making it an immersive experience and, at the same, a bold debut.

* Edition of 100 copies
* Special artwork by Paris-based visual artist Caroline Ventura in custom snapbox
* Designed by Swiss graphic designers Denise Häberli & Alina Scharnhorst of INTR

Santa Maria Electronics is a new label born in Italy. In the first EP, Giulio Gastaldello, the mind behind the project, tried to best express the key concepts of the label: eclecBcism, alchemy and freedom. These elements are not only present in the musical production, but can be also found in the party series by Santa Maria. The desire to merge various genres of electronic music to achieve a new sonic experience is a formula that has been happily welcomed.
We firmly believe that an artist's vision should always be as broad as possible, and this is why in our future releases, as in this one, we will consistently try to push ourself into having an open mind in order to achieve the best outcome for the listeners, besides the genre.
In more depth, side A of this Ep is opened by a DnB pitched down beat combined with an ethereal techno pad. A2 is instead a fusion of house and trancy elements.
Side B1 track, ‘Collapse’, consists of 2 basslines, synth lines, pads and stabs that come and go for the whole length of the track. B2, by contrast, is a more clubber tune with acid elements, groovy kick-sub combination and a catchy vocal.

imited White Vinyl

Norwegian post punk duo Mayflower Madame return with their 3rd Studio album and we are delighted to welcome them to the Up In Her Room Family!

Norwegian band Mayflower Madame is set to release their highly anticipated third LP Insighton 1st November 2024. The lead singles, "A Foretold Ecstasy" and "Paint It All in Blue," have garnered widespread acclaim and extensive radio support, including airtime on BBC 6 Music. These tracks offer just a glimpse of what the album delivers—an expansive canvas of pulsating post-punk, shimmering shoegaze, and atmospheric psych-noir, masterfully blended with delicate sonic nuances.
Mixed and mastered by Maurizio Baggio (known for his work with The Soft Moon, Boy Harsher, and The Vacant Lots),Insightshowcases the band refining their sound into a sharper and more expansive sonic landscape than ever before. This album sees them exploring greater depths and heights, delivering a hypnotic journey through the shadows, filled with haunting melodies and dreamy melancholia. At the same time, it remains catchy and dynamic, with moments of vibrant brightness.
Insightis dedicated to frontman Trond Fagernes' stillborn daughter and is bookended by two songs—"Ocean of Bitterness" and "Insightfor the Mourning Hours"—that directly address this profound sorrow. Between these somber pieces, the album delves into a wide range of emotions, from nostalgic reflections on lost loves to feverish depictions of escapism and catharsis.
Over the past years, Mayflower Madame have gained a reputation far beyond their hometown of Oslo, Norway. They made their debut with the album ‘Observed in a Dream’ in 2016, which created a buzz in the indie music press and earned them tours across Europe and North America, while 2020s long-awaited sequel ‘Prepared for a Nightmare’ firmly established their position as one of the continent’s leading purveyors of cinematic shoegaze psychedelia swathed in 1980s post-punk and dark romanticism.

In their first bout of new music since 2022"s critically celebrated Mondays at Enfield Tennis Academy, Jeff Parker and his ETA IVtet find themselves exploring the depths of improvised jazz grooves on The Way Out of Easy. Featuring long time members Anna Butterss (Jason Isbell, SML) on upright bass, Josh Johnson (Meshell Ndegeocello, SML) on saxophone, and Jay Bellerose (Elton John, Punch Brothers), the selections are honed and focused to bring the atmosphere of one specific night"s setlist. The delight of the space (now sadly defunct) helped Parker build a beautifully multi-textured, gently-shifting four-dimensional construction out of simple ideas.

Worm Records coming back with a number two. Kicking off with a Boulderhead future classic 'In The Cloud', you will have heard 'Bread, Butter, Noodles, Spice' on a dancefloor someplace somewhere, this one is in the same vein but fresh as f. Frenchman Wooka completes the A side with 'Make Yourself Comfortable' which sounds proper on most chunky dancefloors. The B starts off with a track from the legendary DMX Krew who needs appreciation for helping birth this project / label - 'Half Included' is a unit and you’d expect nothing less. The final track on the record is from Jorg Kuning - 'Imbolc' which is typical froggy business from the new hot shot.

All proceeds will support UK Food Banks through the LIVEFORLOVE campaign.

Big thanks to Prime for their incredible support on this project.

Designs by Jay Vaz & Daniel Lovrinov.

London-based DJ and producer Steven Julien’s career has always been about contrasts. Across a decade of releases on labels including Eglo and his own Apron Records, as well as club sets around the world, he’s consistently mixed light and dark, soft and heavy, yin and yang. From rough-edged house and techno to laid-back soul and boogie, or meditations on his familial and musical heritage with 2018’s Bloodline LP Julien’s music has always moved between moods, styles and emotions.

That eclecticism also defines Julien’s upcoming instalment in !K7’s iconic DJ-Kicks mix series. Featuring a broad spectrum of artists including Ryuichi Sakamoto, DāM-FunK and Todd Edwards, alongside a selection of his own exclusive productions, Julien takes us on an imagined journey from day to night: from a bucolic afternoon in nature to heady domestic vibes before a big night out, and finally the euphoric embrace of the dancefloor itself.

Julien describes his creative approach to DJing in general, and this mix in particular, as letting his energy and intuition guide him - it’s only on listening back to the finished session that he realised how often he mixes tracks in key, creating smooth transitions from one moment to the next.

That instinctive approach, where seamless mixing becomes second nature, speaks to Julien’s decade of appearances in DJ booths around the world: he cites sets at Ormside Projects in London, Doka and De School in Amsterdam, or Mitsuki in Tokyo as specific inspirations for this mix. Julien describes the feeling he’s tried to capture on tape as an out-of-body energy: just letting loose, and being yourself. “When you get in that position of doing what’s true to you, playing what’s true to you” he says, “people just resonate with that.”

T.Recs is back with another salty rub of peak time house goodness on vinyl.

‘Urban Deep’ will ring several bells with the Gen X audience – especially once the iconic throbbing bassline hook and happy-clapping beats kick in. The big surprise comes from the throwback dreamy vocal laid perfectly across the production, which fits like a velvet glove on a well-manicured hand. ‘Urban Deep’ is a 122bpm stomper of a tune that will flood any dance floor at any time of the night, guaranteed.

For ‘Franklin & Marshall’ we head willingly and confidently into ‘classic house anthem’ territory. All the ingredients are in the mix here; from the unmistakeable Prophet 2000 generated piano riffs and Roland TR-909 drum box presenting the beats on a gold platter. You think you’ve got this one in the bag until the gospel sounding, smoky vocal arrives like a packed tram car. Epic, energetic, fantastical and full of pride, ‘Franklin & Marshall’ will be the preferred weekend weapon of many a DJ.

Dean Bryce, one of London's best-kept secrets on the DJ circuit, brings his magic touch to this latest release for Extra Soul Perception.

As the founder of Technicolour Records, the label behind early releases from Peggy Gou, Actress, and the recent standout Barry Can't Swim, Dean's reputation is undeniable.

On this record, he dives deep into his re-edit arsenal to deliver three timeless gems. The highly sought-after "H.E.R." makes a triumphant return after becoming a Discogs favourite (£$£), while the flip side unveils "TEAZE" and "Winner"—two stunning cuts that capture Dean's signature sound.

File next to the likes of Moodymann and Theo Parrish. Dean Bryce is truly certified!

Available on limited aquamarine vinyl only, from November 8th 2024.