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Kobe Dupree unveils debut album, ‘Voice from the Inside’, arriving 21st May 2025. It lands on fellow Chicagoan DJ Hyperactive’s 4Trk (4 Track Recordings), and features twelve tracks already supported by the likes of Dustin Zahn, Truncate, Korea Town Acid, Amanda Mussi & more, coming out on wax alongside the digital release.

Dupree’s cosmic ambient opener, 'Jacurutu', sinks you into deep, sub-aquatic techno hypnosis before 'Heretics' layers up alien sounds and rolling kick drums. 'Syk' brings edgy, unrelieved loops and muffled spoken words over more mind-melting rhythm. The supple sounds and otherworldly atmospheres continue on 'Forms', which is marbled with static electricity, with 'Interlude of Voice' marking a moment to reset amongst gorgeous celestial synth smears.

The second half of the album takes in the more punchy but still perfectly loopy deep techno of 'Memory Replacement' and psychedelic swirls of 'Tongue of the Unseen'. There is a mystical charm to the harmonic tones of 'Gammu', a moodier vibe pervades the suspensory 'Fogwood', then 'Semuta Music' traps you in tightly coiled drums and hi-hats while a backlit glow soothes the soul. 'One of Many Faces' closes with a heart-aching piano piece that gets deeply emotional.

Kobe Dupree is a techno artist from Chicago with a deep interest in sound design and minimalism. His musical experiments have been released on Trax Research, Double Vision Records and DJ Hyperactive’s 4 Trk, on which he released the ‘Stimulate | Iterate’ EP in 2024. He has a hybrid approach to production, which involves using a modular rig for sound design before moving to a DAW for arrangement and final touches, heard on the sophisticated and cerebral ‘Voice from the Inside’ album.

Emotional Especial reaches a landmark with its 50th release. Started in 2012 as a “dancier & trippier”, club friendly spin off, sub label to Emotional Response, it has gone on to forge a path, releasing a myriad of artists including the opening release by Jamie Paton (Cage & Aviary / ESP Institute) to Richard Sen (Bronx Dogs), the debut of Khidja (Malka Tuti / DFA) and on to unearthing the breaks masters Alphonse (Klasse Wrecks) and Junior Fairplay (Crimes Of The Future), the uplifting Italo influenced Lauer (Robert Johnson), the new wave anthem of Sfire (featuring Sophie), plus perfect remixes bt Kris Baha (CockTail D’amore) and INHALT (Dark Entries), the NYC pop-rave-vox of Kim Ann Foxman, through to showcasing upcoming artists like Berlin’s Giraffi Dog (Aiwo Recs) and the global acid adventures of Akio Nagase (Chill Mountain) to most recently, the slo-mo trance muscle of 53X and post-rave uplighters of Remotif (Space Lab) and DJ 1985.

As with every 10th release on the label, the label present a various artists “Showcase” of what and where the label is. Aptly it is recent signing 53X who opens Gracias Especial with the bounce of Radar. Finland’s Jonne Lydén debut EP on Especial, Zen ’23 came out of nowhere, more than simply riding a zeitgeist of the “Trance Revival”, his all-live analogue symphonies drop the bpms, presenting widescreen beats, darkroom bass, sirens and tripped out vox all mix to propel a singularly driven.

Taking things much deeper has been the hallmark of Jamie Paton’s remixes for the label. As well as providing the opening EP in 2013, designing every sleeve and producing 20 remixes and counting another 2 for the label here, it’s impossible not to associate Especial with Jamie’s music. First, he reworks rising star DJ, but recent break out producer Chez De Milo, with a trademark dub excursion that takes the ethnic origins of Kremer to a space echo wonderland. Space is the place, the lulling beats, see you falling through the gaps, true dub style.

Alphonse makes a rightful return to Especial, with Raze Rave highlighting the allusive producers’ unique understanding of the varied history of rave culture via a techno-suite of soundscapes, perfectly mixing uplifting breaks, memory inducing vocal samples and dub bass, with a nod to the pop sensibility that rave encompassed, while being that allusive “lost chord” moment of man and machine.

The finale returns to the trance acid expanse of 53X, with the mastery of label stalwart Jamie Paton. An apt marriage, Paton takes the title cut from Lydén’s debut EP and crafts a trademark durge-dub, where TB303 and space echo intertwine with the De Witte vocal, hinting at touches of dub, new wave, trance and acid house all in one melting pot of sound the label optimistically termed “Protoid” back at inception of summer 2013.

MIDICRONICA, known as the final legacy of Nujabes and the ending theme of the globally acclaimed anime "Samurai Champloo" and singer Hiro-a-key
(origami PRODUCTIONS), who is also active globally under the name Nenashi, have teamed up to release "Itsumosobani" on 7-inch vinyl.
This work is a split album of songs by Shin-Ski, the poster child of Lo-Fi Hip-Hop, and KO-ney, an official AKAI Professional player and one of Japan's leading finger
drummers, and includes two songs, the mellow and nostalgic "Itsumosobani" based on jazz, and the emotional and laid-back Itsumo Soba n".
Hiro-a-key's pale and fleeting singing voice and MIDICRONICA's unadorned words will touch your heart when you think of someone important.

Blue and orange Stardust vinyl, limited to 500 copies. Since 2016, Indiana's Wraith have been emitting their incendiary brand of blackened thrash and speed metal into the world. Summer 2024 will see them release their debut full length under the Prosthetic Records label banner; prepare for Fueled By Fear. What started as a one-man band many moons ago has evolved into a propulsive beast of a band. Channeling a reverence to classic metal from a bygone era, Wraith incorporate their distinctively blistering sonic signature to create something urgent and contemporary. The band have previously described their collective mission as follows: a war of aggression on the dour confines of the modern metal scene and total sonic annihilation. Fueled By Fear captures the raw punk edge of their previous releases; a sound that will already be familiar to converts who have caught the band live in all their full-throttled abrasive glory. The album was self-produced by the band in Griffith, Indiana -, with engineering, mixing and mastering handled by CJ Rayson. Each member brings their own influences and stylistic flourishes to the table, combining to create a tightly wound, cohesive collection of scorching tracks that reflect their individual personalities and tastes.

* V Recordings and Tim Reaper's Future Retro London have joined forces to unleash "One Stop Mr Driver," a track that channels the raw energy of '90s jungle. This release features both the original mix by the legendary Krust and a fresh remix by Tim Reaper, bridging the genre's roots with its modern resurgence.

* Kirk Thompson, professionally known as Krust, is a seminal figure in drum and bass. Emerging from Bristol's vibrant music scene, Krust co-founded the influential Full Cycle Records alongside Roni Size, DJ Die, and Suv. His innovative approach has produced classics like "Warhead" and "Soul in Motion," tracks that have left an indelible mark on the genre.

* London-based DJ and producer Tim Reaper has been pivotal in the revival of jungle music. Through his label, Future Retro London, Tim has showcased a plethora of talent from the modern jungle scene, earning accolades such as DJ Mag's Best of British Breakthrough Label award in 2021.
* "One Stop Mr Driver" was a coveted dubplate from the '90s, never officially released but highly sought after by enthusiasts. Recognizing its timeless appeal, Tim Reaper has crafted a remix that preserves the original's amen break-driven intensity while infusing it with razor-sharp modern production.

* Bryan Gee, the visionary behind V Recordings, has long admired Tim Reaper's contributions to the scene. This collaboration marks a rare partnership in V Recordings' three-decade history. The fusion of Krust's pioneering sound with Tim Reaper's modern touch honors its roots while embracing the future of drum and bass and jungle music.

* "One Stop Mr Driver" will be available digitally and as a limited edition 12" vinyl release.

"Stop & Go", released in 1973, is o)en considered one of Hamilton Bohannon's finest works. This album showcases a dis6nct and primal funk sound, different from his later, more disco-oriented material. It is a highly regarded funk album, characterized by its deep grooves, inven6ve arrangements, and a unique blend of instrumental funk with soulful vocal touches. It stands out as a more nuanced and varied offering compared to some of his later, more direct disco releases, making it a must-listen for fans of early 70s funk.

JOE T. VANNELLI, one of the world's leading exponents of house music, creates
two new remixes featuring two House DIVAS, two powerful and iconic voices:
LOLEATTA HOLLOWAY and EARTHA KITT! Loleatta Holloway's track "Sensation,"
in Club and Melodic House versions, makes the dancefloor vibrate thanks to
Vannelli's touch, offering two high-impact versions aligned with current global
trends. On the B-side, EARTHA KITT and her scratchy voice are remixed in the 2025
version of "Where is My Man" with electronic and funky sounds in the first track,
and in the iconic version that became famous in the Milanese nights of New York
Bar (1999) in the second.

In the world of Pharaoh Overlord, little is ever as it seems. This band is less comprised of tricksters or mischief makers than fearless obsessives whose musical instincts take twisted and wild pathways. Now, fresh from forays into Italo-disco and synth-pop, they have thrown another still more mighty statement of intent into the universe. Louhi is a thunderous and majestic epic of joyful repetition and earth shaking power. A two-track minimalist-rock monolith forged from guitars, synths and hurdy-gurdy, inspired by the band’s eternal touchstone influence Outside The Dream Syndicate by Tony Conrad and Faust, and constructed around a single riff and melodic idea, it builds and evolves to fearsome pinnacles of elemental intensity.Luminaries and constant compatriots in the Pharaoh Overlord
headspace were recruited for this voyage into the ether. Vocalist and longtime collaborator Aaron Turner (SUMAC, Isis, Old Man Gloom)and Tyneside maverick Richard Dawson were equally keen to get on board, the former taking a spontaneous and improvisatory approach to his vocal parts, and the latter largely playing a part consisting of one guitar chord. Yet whatever routes Pharaoh Overlord take to their destination, a common theme is the consciousness-warping singularity of the riff and the mantra, and the temporal disorientation this can provoke mirrors the broader designs of this record, which takes traditional folk elements and transports them in the band’s singular time machine. “It’s our 25th Anniversary this year, and from time to time we hear wishes that if just we could play more of the stuff that we did twenty or more years ago” relate Jussi and Tomi. “We totally understand this. You could say we used Louhi to reset ourselves to the past, to be able to continue again to the future.” Aaron puts it another way, evoking simplicity in the chaos – “The world of Pharaoh Overlord is a magical one - every album is an invitation to enter that place and rejoice in doing so…”

The Time Capsule label unites record collectors and DJs of Brilliant Corners and Beauty & The Beat communities in London. For each release, Kay Suzuki works alongside one co-curator to reinstate and repackage the music they hold dear into perfectly restored historic artifacts.

For the first release, Brilliant Corners regular and Meda Fury signing Ryota OPP curates the reissue of Il Guardiano Del Faro’s 1978 album Oasis.

Born 1940 in Milan, Federico Monti Arduini was a child prodigy who studied piano and was already performing at concerts from the age of eight. He composed pop songs for other artists which sold millions of copies, but his own solo success came after he encountered synthesizers in the early 70s.

Viewed as a precursor of New Age sound art, Arduini was one of the first producers in Italy to use the Moog synthesizer and a meeting with Bob Moog in New York only added to this obsession. He was also an early adopter of the tradition among electronic producers to use a moniker to disguise his identity. Il Guardiano Del Faro (translated as “the guardian of lighthouse”) is a nod to the small Italian fishing town Porto Santo Stefano, where Arduini created his studio in the mid-70s.

He produced a number of albums from this seaside idyl of electronic instruments and tape recorders, but Oasis stands out from the pack. Released in 1978, it became a cult classic for its experimental sounds and emotional expressions. Spiritual synth sounds cover the album in a dreamy haze, oscillating between ambient and psychedelic. Sparing deployment of the Roland rhythm box gives dance floor favourites ‘Disco Divina’ and ‘Oasis’ touches of space disco and even teases proto-house elements like the great Sun Palace.

“The passionate, sweet and dramatic sound of Il Guardiano Del Faro made me fantasise about so many romantic aspects of Italian culture. Oasis is sonically more interesting than his other albums and these exotic, eccentric rhythms sound quite familiar to the modern music fans.” – Ryota OPP

Held on the Tips of Fingers (2005) was the album that launched Polar Bear into the spotlight, earning a Mercury Prize nomination and cementing their status as one of the most influential British jazz groups of the 21st century. Now, for the first time, this landmark album will be available on vinyl, bringing new life to a recording that helped redefine jazz for a new generation. Expanding on the ideas introduced in Dim Lit, Held on the Tips of Fingers saw the band refine their sound while pushing their compositions further into uncharted territory. The interplay between Rochford, Pete Wareham, Mark Lockheart, Tom Herbert, and Leafcutter John was sharper, the structures looser, and the music more expressive. It was a rare feat: an album that felt both urgent and timeless, raw yet meticulously crafted. Held on the Tips of Fingers was widely acclaimed, securing a 5-star review in The Observer and a place in Jazzwise’s 100 Jazz Albums That Shook the World and The Guardian’s 1000 Albums to Hear BeforeYou Die. This long-awaited vinyl edition revisits an album that shaped modern British jazz and inspired a wave of experimental music that followed. Held on the Tips of Fingers remains as vital and forward-thinking today as it was in 2005, standing as a testament to the groundbreaking vision of Seb Rochford and Polar Bear.

To celebrate its 20th anniversary, Chinese Man revisits We've Been Here Before with a special expanded and reimagined edition. On the menu: unreleased tracks, remixes, live versions, and original reinterpretations featuring special guests such as La Yegros, OBF, and Chill Bump. This rework offers a fresh perspective on the trio's universe, driven by remixes from Manudigital, G?EG, and Lorkestra, who bring a wave of modern energy to the group's iconic tracks. The album also revisits Chinese Man's classics, including a brand-new version of Get Up and a powerful live performance of the legendary I've Got That Tune, featuring General Elektriks. A touch of the past, a bold step into the future - this shape-shifting album is a heartfelt anniversary gift.

Over the course of nearly a decade making music, Alicia Jeanine and Jed Smith have charted a distinctive course through the history of pop, evoking influences as varied as the 60s folk of early Fairport Convention and Vashti Bunyan, the sunshine pop of Margo Guryan and Laura Nyro, and indiepop touchstones like Dear Nora, Marine Girls and Dolly Mixture. The new album finds Jeanines grappling with themes of personal upheaval and self-excavation, adding weight to their finest set of songs yet. With Alicia's lyrics incisively interrogating connections, ruptures, and time and its reverberations, songs like "Coaxed a Storm," "What's Done Is Done," and "On and On" combine rich melody with co-composer Jed's crisp arrangements (along with contributions from longtime live show bassist Maggie Gaster) to stellar effect. Where How Long Can It Last really shines is, as always, in the songs. While the themes are sometimes heavy, the melodies and harmonies are simply heavenly, elevating these economical songs to give each the feeling of a lost classic. From the first notes of opener "To Fail" to jaunty closer "Wrong Direction," this album announces itself as the work of a band in full command of their art (and craft).

Pioneering British electronic musician Mark Van Hoen is set to release his latest solo album, The Eternal Present, on 23 May 2025 via Dell'Orso, a remarkable collection of tracks spanning nearly three decades of recordings from 1998 to 2024.
The Eternal Present embodies its philosophical title, inspired by Joseph Campbell's concept that "Eternity isn't some later time... Eternity is that dimension of here and now that all thinking in temporal terms cuts off." The album explores music as the ultimate expression of existing in the present moment, transcending time and creating a sonic experience that is simultaneously "spectral, ghostly, melodic, harmonic, and decayed."
An influential contemporary of Aphex Twin, Autechre, LFO and Boards of Canada, Van Hoen is best known for his solo work as Locust in the mid-'90s, which helped push post-rave electronic music into newly challenging realms. His extensive discography spans releases on influential labels including R&S, Touch, and Editions Mego. Van Hoen has worked on numerous collaborations throughout his career, including with Nick Holton and Neil Halstead of Slowdive under the moniker Black Hearted Brother—their album Stars Are Our Home was released in 2013.
The Eternal Present continues the lineage of Van Hoen's most significant works, with artwork by Ian Anderson (Designers Republic) reflecting the album's "eternal present" concept with a mysterious visual approach, allowing listeners to form their own imaginary landscapes. The mastering by Stefan Betke (Pole) enhances this document of the evolution of the artist over the years as he continues to hone his signature sound. Using a host of instruments including analogue synthesisers and employing various recording approaches, Van Hoen's equipment changed dramatically over the years—from early DSP processing used on his first solo record on Apollo ‘Playing With Time’ to various synthesisers, modular systems, tape machines, and digital workstations—contributing to the album's rich sonic diversity.
Throughout The Eternal Present, ideas are woven together through spoken word quotations and abstract vocals featuring notable collaborations from Rachel Goswell on the Slowdive cover "Shine" (from 1998), Megan Mitchell (Cruel Diagonals) on "Somewhere", and session vocalists Clare Dove and Dorothy Takev on "No-One Leave" and "It's Not You (In A Way)" respectively. The use of cleverly assembled vocal samples from an "undisclosed but very famous female vocalist" on "Multiplex" (2016) and the indistinct vocalisations on the Cabaret Voltaire-influenced "Only Me" (2017), constantly challenges and disorientates the listener through fluctuating, ever-changing musical elements.
The album was recorded across multiple locations including Somerset, London, Los Angeles, and New York—even beginning compositions during flights and in airport lounges—reflecting Van Hoen's changing personal circumstances, environments, and situations throughout the years.
Of Indian-Jamaican descent, Van Hoen was born and raised in England, absorbing diverse musical influences from his neighbors—African-Jamaican on one side and Punjabi Indian on the other. "Each family played their own music frequently, and I absorbed it." His musical foundations include Brian Eno, Kraftwerk, OMD, Tangerine Dream, Japan, Cabaret Voltaire, and Cocteau Twins, later finding inspiration in My Bloody Valentine, LFO, and '90s producers Robert Leiner and CJ Bolland.
These eclectic influences are evident on The Eternal Present, which contains snapshots of different periods in his life, with changing circumstances across decades creating a variety of textures and sounds. As Mark explains: "It holds the same sonic signature as many of my solo releases and early Locust albums. It's a natural development that has taken place in the last few decades. It's even related to the earliest music I made as a teenager, although perhaps more sophisticated."
“What a remarkably affecting, majestically broad and captivating work it is..what strikes you most is the album’s myriad diversity. Outstanding” (Electronic Sound)

“Whether channelling mid- 70’s Eno, early Aphex Twin or Neu! his vivid sounds shimmer with emotional weight” (Mojo 4*)

"Musically, Van Hoen belongs to a distinguished family tree. Originally influenced by the likes of Brian Eno and Tangerine Dream, and later presaging both Autechre's glitch and Boards of Canada's pastoral IDM." (Pitchfork)

2025 Repress

It's rare that a certain sound is entirely an artist's own. Although undeniably a stew of impeccable influences - from blues to folk to Latin to dusty funk, soul and hip-hop - one cannot hear a Tommy Guerrero song without immediately recognising it as his - and his only.The cult skater from San Francisco is globally renowned as one of the original members of the legendary "Bones Brigade" team. And as an accomplished multi-instrumentalist, his laid-back soul is beloved by all who've basked in its blissful glow.There's something elemental about this music that really stirs the soul. Strikingly beautiful and instantly addictive, it's a kind of funk-fuelled, melody-driven, groove-based magic. There's a serenity and heart in the playing that radiates warmth and splendour, as if crafted for endless sunsets. His albums that surfaced on Mo Wax at the turn of the century have been treasured since their release and it's two of his most vital LPs that we're honoured to reintroduce.The originals were quietly pressed on to a single piece of vinyl so we've worked closely with Tommy this year to bring you these fresh, limited editions. They have been lovingly remastered, cut nice and loud on to heavyweight double vinyl and presented in deluxe gatefold jackets.A Little Bit Of Somethin' is a quietly majestic gem. Brimming with Guerrero's horizontal "loose grooves", these brief but innovative instrumentals demonstrate a rich variety and, as such, comprise an LP that is aptly titled. An enchanting start-to-finish listen, it was instantly regarded as essential upon release via Mo Wax in 2000. It has aged remarkably well.Throughout this inspired collection, simplicity is key. In deploying it, Guerrero presents a beautifully crafted melodic soundscape. The distinctive, mellifluous approach of his guitar style, blending Brazilian, Cuban, Mexican, soul and jazz motifs, is at once startlingly new and tantalisingly familiar. Set against unrushed percussion, the music releases a crystal clear stream of healing frequencies to create a fragile, hypnotic atmosphere.Each track clocks in at around three minutes and, with a lack of studio polish or commitment to traditional song structure, it's a wonder how this enigmatic record demands your attention. However, through its gentle dynamism and impressive playing, it does just that. Whilst resolutely low-key, this lo-fi aesthetic feels genuinely organic and remarkably personal, its powerful intimacy truly connects. It's what makes this album so beloved of those lucky enough to be already familiar with it. From Margaret Kilgallen's truly iconic cover artwork to the music contained within, it's all brilliantly effortless.Guerrero's musical ideas are consistently compelling throughout, making it impossible to select highlights. The album's laconic drift touches upon jazz-fusion workouts and slow-mo hip-hop drums, Tortoise-style experimental post-rock and cinematic sound textures. It's at once hazy, light and bouncy yet sombre and bluesy. The Latin soul of El Chicano blends with the breezy jazz of Grant Green. By employing guitars and drum machines to create a stripped down rhythmic tapestry of spellbinding, addictive songs, there are even traces of The Durutti Column. A little bit of country, a little bit of rock & roll. A Little Bit Of Somethin', indeed.

Juan Ramos is up to bat for the next Körperspannung release with the four-track stunner EP ‘Hard Bois’. Deeply connected to the ongoing pursuit of gay excellence and endeavors, Juan honors those who have come before us and touches us deeply in our soft spots at all the right moments. Across ‘Hard Bois EP’, the Berlin resident and behind the scenes operator (IYKYK) shows precisely why he’s one of dance music’s most exciting and dependable prospects. Opening the release, ‘Hard Bois’ combines snaking drums in a melange of samples with bff Kris Baha vocalizing sizzling and snaking lyrics winding around this propulsive club cut that could easily be a snapshot right out of a scene from Chicago’s iconic Medusa Club. ‘Saviour Sound’ is music that makes iron pipes sweat with hedonistic abandon. Exposed steel vibrates to a hardcore beat. Gears interlock to move the whole building into autonomous productivity. Conduits of electricity pulsate to the drama unfolding in a dim lit factory with dank corridors leading us on a path to a flowerbed growing and thriving in a subterranean hydroponic garden.
On the flip, the alarm strikes and it’s (shout it out): ‘Werk Day’! This is your call to get buttoned up and ready to make dreams reality. Head to the gym, pump those guns and then house your body. Technological funk winding through a sturdy and rock hard kick that helps you ride through the chasms of pleasure and pain. Rounding out the release is your ‘Acid BB’ rocking and roaring through the airspace of atomized acid matter, a perfect closer to a thoroughly exciting direction Juan Ramos takes with his newfound sound. Play it loud. Play it proud. Juan is one of our own and we do all we can to take care of each other.

From his early-’60s days as hip shaker Twistin’ Harvey to his late-’70s nights on the light up dance floor in search of a “Disco Lady,” Harvey Scales survived scrapes with the pop charts, bankrupt record companies, walk outs, sit ins, strikes, price hikes, lay offs, and under table payoffs over a 40 year career. Compiled here for the first time are Scales’ Cuca and Magic Touch recordings, 27 slabs of cracker jack R&B, stomping northern soul, divorce-ridden deep soul, feverish funk, and hustling disco spread across 2 LPs and housed in a deluxe gatefold jacket.. Bill Dahl’s in depth notes document the entire sordid affair, with dozens of period photos and ephemeral bits illustrating the accompanying 20 page book. So necessary.

From his early-’60s days as hip shaker Twistin’ Harvey to his late-’70s nights on the light up dance floor in search of a “Disco Lady,” Harvey Scales survived scrapes with the pop charts, bankrupt record companies, walk outs, sit ins, strikes, price hikes, lay offs, and under table payoffs over a 40 year career. Compiled here for the first time are Scales’ Cuca and Magic Touch recordings, 27 slabs of cracker jack R&B, stomping northern soul, divorce-ridden deep soul, feverish funk, and hustling disco spread across 2 LPs and housed in a deluxe gatefold jacket.. Bill Dahl’s in depth notes document the entire sordid affair, with dozens of period photos and ephemeral bits illustrating the accompanying 20 page book. So necessary.

The debut album from Addy Weitzman, ‘Light Months Will Fly Over Us’ explores new-wave, romantic pop and art rock with elegance and ambition, drawing from Weitzman’s scattered network of collaborators, as well as a “frighteningly vast” personal archive of compositions. Sequenced by Seth Troxler and released on his Slacker 85 label, it represents a pivot in musical direction for the imprint, and a showcase for the songwriting craft Weitzman honed as a member of cult electro duo Footprintz, and Montreal synth-pop projects The Beat Escape and Dawn to Dawn.

The title Light Months Will Fly Over Us is derived from a line in a poem by the Russian writer Anna Ahkmatova. Weitzman was immediately struck by its “hopefulness, its mystery… it gives the feeling of being suspended, hanging in a dream-like state”. This interpretation has been translated to the album, rich in memorable songwriting that nonetheless invites the listener to lean in further. Delicately mixed by engineer Pierre Guerineau, known for his work alongside Marie Davidson, each of the eight tracks gently interrogates life’s greater mysteries; fear, love and salvation, each defining and revealing the human soul.

Opener ‘End of The Line’ invites us into an immediately lush space of lounge lizard existentialism, soft brass and piano helping Weitzman introduce “where the journey begins and the fantasy dies”. Across orchestral arrangements arranged by Adam Wilcox, whose sensitive, ambitious compositions are weaved throughout the album, ‘Beyond The Speed of Life’ brings to mind the laments of Scott Walker. Navigating vulnerability via grandeur, Weitzman’s earnest vocals flourish in wide-eyed call-and-response with the object of a transcendent love affair.

Alongside collaborator, Richard Lamb, the next chapter of the LP plunges into contrasting machine-driven moods; the wry, bubbling ‘Entertainment Is All I Wanted (And I Found It)’ is imbued with the playfulness and experimentation of 80s electronic pioneers such as Fad Gadget, while the tougher, icier ‘Stranger To Your Kind’ shifts in a more instrumental direction, recalling Weitzman’s dancefloor experience, as well as contemporaries such as Matthew Dear.

Album centerpiece and striking first single ‘Running & Returning’ is the first of a suite of three tracks in collaboration with Weitzman’s The Beat Escape and Dawn to Dawn bandmate, Patrick Boivin. Blending lush saxophones and angular guitars with a wistful melodic touch and lyrics, its irresistible art-rock rhythm provides the foundation for one of Weitzman’s most involving vocal performances.

It’s followed by an anthem for existential absurdity: ‘Ice Cream Candle’ provides a driving acceptance that “the more and more you learn, the less you understand”; Weitzman submits to this uncertainty with equal grace on ‘No Man’s Land’, as baroque invocations of “words swept through the fields” and meeting “where the water lilies grow” give way to a blistering guitar solo, humbly riding hypnotic percussion.

For the compassionate finale of Light Months Will Fly Over Us, Weitzman narrates the experience of ‘Gabrielle’, a woman slipping between rooms between shuttered blinds in the towering city, “where cigarettes and roses fill the air.”

As lyrically delicate as it is musically ambitious, Light Months Will Fly Over Us is a sublime debut album, enriched with care, love and much-needed enchantment.

Matt Duncan is one of the biggest artists you have not heard of yet. This particular album, "Soft Times" has almost 20 MILLION STREAMS on Spotify alone. You might not know Matt Duncan, but you have definitely heard his music. His music has been on "The Vampire Diaries," "Private Practice," and HBO's "Bored To Death." Most recently Matt was a featured performer in the Tony Award winning Broadway musical, "Hedwig and The Angry Inch." The album art was created by Robert Beatty, who has recently done art for Tame Impala, Flaming Lips, and more!Matt Duncan creates music that would have fit in perfectly on your Dad's AM Radio in the 1970's. Touches of Blue Eyed Soul await you on this LP. This album showcases the strength of Matt's arranging. Strings, horns, layered vocals all make this perfect mix of Motown and Bacharach. There is a track for any ear on this LP.

Repress!

Groovin recordings celebrates the release n° #100 repressing one of the most essential electronic-dance records of all times.

Smut is the project of lyricist Tay Roebuck, guitarists Andie Min and Sam Ruschman, drummer Aidan O’Connor, and bassist John Steiner. Roebuck, Ruschman and Min started the band a decade ago in Cincinnati, Ohio. Since then, they’ve played alongside Bully, Wavves, and Nothing. After years in the Cincinnati DIY scene, they made their Bayonet Records full-length debut, How the Light Felt. The record was a revelation. Pitchfork called it “a rigorous, decade-spanning study,” and a “well-oiled spin on late-’80s guitar pop.” Under the Radar called it “pop perfection,” that “blends subtle hooks with wistful lyrics.” It was a record that explored grief through the lens of melancholic dreampop, using drum machines and layered, intricate melodies.
Tomorrow Comes Crashing, Smut's first record with O'Connor and Steiner, sees the band re-energized and trained on the limitless potential that comes with making music with people you love. Galvanized with a new lineup, Smut focused on creating a record that possessed the same towering intensity as the records that first got them into music: Three Cheers for Sweet Revenge, Relationship of Command. The outcome is ten of their most intense, bombastic, and focused songs to date.
Catharsis bursts through the seams throughout Tomorrow Comes Crashing. “Syd Sweeney, ”inspired by the actress, is the record's centerpiece. It's about how profoundly strange it can be to be a woman, to be misunderstood by people who don’t even know you. The song is driven by chugging guitars and big, rolling drums. In other words: stadium rock about perception. Paramore meets Dookie. “She connects to the youth and the girls in the water/All she amounts to is someone’s daughter,” sings Roebuck in one particularly poetic moment. The song comes to a thrashing metal-inspired breakdown. It’s ecstatic.
To make the record, Smut recorded “as live as they could,” alongside Aron Kobayashi-Ritch(Momma) in a studio in Red Hook, Brooklyn, over the course of ten days. “We have so much energy right now,” says Roebuck. Right before they went off to New York, Roebuck and Min got married, with the rest of the band by their side. The recording was a true labor of love — driving from Chicago with all their equipment, returning from 12 hour studio days to sleep on friends' couches and floors, Roebuck completely blowing her voice by the end. Smut has always been DIY. Because they love it. Because they have to do it–there’s no other option. Tomorrow Comes Crashing is the culmination of that DIY spirit: making a record that completely encompasses the intensity, moodiness, and emotion of their journey so far.

Reissue of in-demand Italo title, with accompanying edits by Hysteric. "For the much-requested 12'' reissue of Roaring Mosquitoes, Best Record followed the hint by a die-hard German researcher and esteemed DJ of 'hidden musical treasures' Frinda Di Lanco. Further enriching this reissue - masterfully remastered by Dom Scuteri - with two of his splendid edits is the Australian DJ-producer George Hysteric, one of the world's leading authorities and a leading figure in Italo Disco. The juxtaposition of the two songs performed with grit and physicality by Agostina Casalino and her cousin Antonietta Casalino (aka Roaring Mosquitoes) highlights two aesthetically and rhythmically similar approaches, albeit with different roots and inspirations. "You Aren't With Me" has the merit of not wanting to reinvent the genre, but exploits the familiarity of pop-dance forms, obtaining an immediate catchiness. The piece stands out for its linearity while reworking melodic mechanisms typical of the 80s new wave: short instrumental intro, well-defined verse-chorus, obsessive repetition of melodic hooks that make it an immediate and "dragging" song on the dance floor. The arrangement focuses on a solid electronic drum groove, sinuous basslines, clean guitar riffs, "cutting" keyboards and the use of the chorus typical of the Italo Disco of those years. Some passages recall the melodic line and rhythmic progression of "Tonight... Crazy Night", an intriguing song that the Canadian artist Dorine Hollier created in 1984 at the Titania Studios in Rome with Pierluigi Giombini. Even with "Ah Ah Ah Ah" which features a vibrant and cheerful sound there's a playful use of citation for some idea that Diego Pepe took from a Micky & Joyce track. It evokes the "space disco" spirit of Jean-Pierre Massiera and the influence of the French scene of 1979: polyphonic synthetic strings, echo effects on electronic hi-hats and a vaguely futuristic atmosphere, but with an even more captivating sound revitalized with more scratchy modern touches and compressed basslines. A mix of vintage and contemporary that enhance its charm."

Monde UFO follow the celebrated ‘7171’ album with a trip to the mysterious ‘Flamingo Tower’. In the shadows of the Los Angeles bustling music scene, the enigmatic collective led by visionary Ray Monde create a trance-like fusion of psychedelia and avant jazz, mantra-like evocations, brash moody ambience and passages reminiscent of long-lost library music.

Magnifying Monde UFO’s idea of musical chaos, their early sonic escapades into off-kilter exotica is now elevated with sweeping atmospheric waves of sound inspired by an eclectic brew of Arto Lindsey, Khan Jamal’s ‘Drum Dance To The Motherland’, Keith Hudson, Milford Graves, Marion Brown, Don Cherry and Lennie Tristano.

Cast deep into number theory with occasional quasi-religious touchstones, ‘Flamingo Tower’ bustles with background sounds overlaid with intimate melodies conjuring plenty of suitably strange illusions; a synthetic orchestra plays baroque pop, a guitar is set to auto destruct and Ray Monde’s hushed vocals carry a bracing narrative. It’s an evocative album, one for the heavy music nerds, sprinkled with ear candy and proliferated by mysterious numbers which litter the song titles.

“Monde UFO wander through a humid mist of exotic samba shuffles, shamanic whispers, and reverberating laser beam synthesizers.” New Commute

Known for her delicate, subtly psychedelic approach to production - all subtlety is thrown out of the window on the opener, “Parents and God”. We are immediately confronted with a slamming Chicago house style beat in style of Mr Fingers at his most utilitarian. It slams, jerking in and out of tempo like Ron Hardy in beast mode.

Out of nowhere a soulful church organ arrives - at first for a brief respite - but then for an extended solo, which gives way to an 80s electro style breakdown before reverting back to form. It shouldn’t work, but somehow it does - to a dizzying extent - and heirin lies Mayurashka’s magic: a blatant disregard for norms and a deft touch that makes the unorthodox so compelling.

“Notango" takes another big left turn - sitting somewhere between tribal seance and rain dance, it’s mostly organic drums and otherworldly sound effects that combine to drag us deeper into the wormhole before “ Vat Murmur” takes us back into the light with its uptempo disco energy and giving way to heavy chugging bass. This one is equally for fans of idjut boys and Larry Levan.

The EP rounds off with the title track “ LSI dreaming” - to try and describe it is almost impossible, but let’s say it starts of with a mid 2000s Perlon-era tech house energy before things quickly escalate beyond all recognition and then just hover with lysergic intensity. If I ever closed panorama bar, this is the track I’d end with.

Yes Amigos!

The Debut Album "Latin Freaks" by Funkool Orchestra is finally out!

Get ready for another dose of Neapolitan Funky Disco Boogie madness with a Latin touch and a glorious featuring by the one and only Latin soul King : JOE BATAAN.

The Long Playing is a mixture of Rare Grooves, Napoli Sound, Disco Boogie, Latin Soul and Boogaloo, ideal for a trip to Nueva York and back to Naples just to say hello to your Puertorican uncle Manolito "Gennaro" Marròn.
A gozar!

When Alanis Morissette took direct aim at an ex who wronged her on the eviscerating “You Oughta Know” in 1995, everything about the Top 10 song communicated it wasn’t the usual narrative about love gone south. Or the typical wounded singer wallowing in self pity. Morissette, and both the lead single from and her entire American major-label debut — the profoundly personal Jagged Little Pill — represented a sea change. They kickstarted a movement, one whose impact continues to echo throughout the mainstream nearly three decades later.

Ranked the 69th Greatest Album of All Time by Rolling Stone, included on the Rock and Roll Hall of Fame’s list of 200 Definitive Albums, and featured in several books about essential albums, Jagged Little Pill remains more than a blockbuster that has sold more than 17 million copies in the U.S. and 33 million units worldwide. It’s a statement, an attitude, a soundtrack for anyone seeking inspiration, an outlet, or permission to be themselves.

Sourced from the original master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, and strictly limited to 4,000 numbered copies, Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP box set of Jagged Little Pill presents the landmark effort in audiophile-grade sound for the first time. A key part of the record’s appeal and accessibility — Glen Ballard’s smooth production, touches that help Morissette’s exposed-nerve fare seem more accessible and melodic — comes through on this special 30th anniversary edition with an openness, presence, and dynamic explosiveness that make the vocalist’s songs that much more real and visceral.

The singer’s distinctive mezzo-soprano deliveries — the octave-rippling highs, dark-hued lows, dramatic crescendos, belted choruses, wispy reflections, occasional yodels — resonate with full-range ardor and depth. As crucial as anything on the record, Morissette’s confessional words take center stage like never before. Ditto the instrumentation and atmospherics that form the magnetic backgrounds of the songs. Key in on the contributions from Red Hot Chili Peppers Dave Navarro and Flea on “You Oughta Know” to Tom Petty & the Heartbreakers' co-founder Benmont Tench’s organ playing on six tracks.

The deluxe packaging of Mobile Fidelity’s Jagged Little Pill UD1S set underscores the work’s distinguished status. Housed in a slipcase, the LPs come in special foil-stamped jackets with faithful-to-the-original graphics that illuminate the splendor of the recording. Benefitting from an ultra-low noise floor, superior groove definition, and dead-quiet surfaces, this UD1S reissue is for listeners who prize sound quality and desire to engage themselves in everything involved with the album, including the now-iconic cover art that juxtaposes two portraits of the then-21-year-old singer-songwriter and features typewriter font.

That script — which suggests a raw, blood-on-the-floor document created without modern aids like spell check or language correction — hints at the heightened level of unvarnished intimacy, honesty, and catharsis Morissette offers throughout Jagged Little Pill. Named after a phrase uttered on the astute “You Learn,” the album explores the frank emotions, inherent contradictions, and wishful desires people feel everyday but are often too afraid to express. Morissette displays no such fear or shyness.

Akin to a woman reading from a diary, Morissette leaves nothing to the imagination as she skewers hypocrisy during the poignant “Forgiven,” seeks recompense on the vengeful “You Oughta Know,” and spills her guts on the soul-purging “All I Really Want.” For all the anger and bile ascribed to the singer and record, Jagged Little Pill is incredibly healthy and upbeat. Morissette uses the catchy pop-rock frameworks and moody ambience to suss out situations, to learn, to give hope. There’s the clever yearning of “Hand in My Pocket”; wry contrarianism of “Ironic”; kind-heartedness of “Hand over Feet”; the live-and-let-live spirit of “You Learn” – all positive and amiable.

Throughout Jagged Little Pill, the ever-approachable Morissette connects with listeners who recognize themselves in her — and has an intelligent conversation with anyone who wants to participate. It seemed almost everyone did. In addition to the mammoth sales that make the effort the 17th-best-selling album in American history, Jagged Little Pill collected four Grammy Awards, two American Music Awards, three Billboard Music Awards, and eight Juno Awards. In 2018, the record became the basis for a musical that netted 15 Tony nominations on Broadway.

Ironic? Anything but. Jagged Little Pill transcends generations, gender, and trends. As Morissette sings on the opening “All I Really Want,”, the album represents “deliverance” — “a place to find common ground.”

Having crested the west coast modular-ambient wave in just a few releases - including 2018's Sharing Waves on the influential LA experimental imprint Leaving Records - Sean Hellfritsch has swapped the mossy analog synth improvisations of his prior output for refined melodic arrangements dressed in sprightly dawn-of-digital textures. Big Earth Energy plumbs the depths of Hellfritsch's multimedia mind and naturalist heart, spinning an impressionistic narrative world off of cultural touchstones like the PC game MYST, and the work of Studio Ghibli composer Joe Hisaishi. Inspired by the aforementioned, and guided by Hellfritsch's experience as an animator and filmmaker, Big Earth Energy is the soundtrack to a hypothetical video game with a pointedly ecological premise, and a twist of psychedelic charm. In Hellfritsch's imagined virtual journey, the player assumes the perspective of a treefrog sixty-five-million years ago, hopping epochs with each new level, forming a comprehensive picture of the massive changes the planet has gone through over the eons. The ultimate goal of the game is not to amass resources, defeat enemies, or gain power, but to fully witness the unfolding of one of the biggest systems of energy imaginable - or as the album's creator puts it - "to explore the incomprehensibly vast energetic expression and mystery that is Earth." Big Earth Energy is steeped in exploratory RPG intrigue, possibility, and contemplation, lovingly overlaid with Miyazaki-an sentiments and aesthetics. The through-composed, organic, meandering synthesis heard on previous Cool Maritime albums has been fully replaced by meticulous polygonal arrangements that recall the computerized sheen of late 80s work by composers like Hiroshi Yoshimura, and Yoichiro Yoshikawa - using true-to-period gear no less. Even given its referentiality, Big Earth Energy comes off as forward-facing where so much reminiscent music remains fixed to a bygone moment in pop culture. Hellfritsch has created a musical world where the endless verdancy of the biosphere finds its parallel in the golden age of early 1990s video games, and late 80s Japanese environmental music, all while pointing to a hopeful planetary and artistic future that vindicates the motives of all of these muses.

"The restorations of The Lost Recordings are worthy of those devoted to master paintings." — Le Journal du Dimanche

"We discovered these previously unpublished tapes in the archives of the RBB — the Berlin radio. This discovery is absolutely major because these two incredible musicians had recorded too little together and because this recording offers us the possibility to listen to them in works that were unpublished so far in their discography — notably an extraordinary sonata by Prokofiev! And what can we say about this Bach sonata, with an Andante that brought tears to the eyes of everyone present in the studio at the time." — Frédéric D'ORIA-NICOLAS, Musical treasure seeker

János Starker, cellist, and György Sebok, pianist, were both born in Hungary early in the 20th century. They were welcomed into the formidable Franz Liszt Academy of Music in Budapest, and emigrated to the USA, where they both held the title of Distinguished Professor at the Indiana University School of Music in Bloomington. Both heavy smokers and sometimes reputed — unjustly — to be harsh, austere and insensitive to trends, they were drawn to music in all its varieties and fascinated by its many colours. They had one aim only, one noble objective: to showcase the works all composers, as evidenced by this recording made in the legendary Studio 3 of Berlin Radio on 24 October 1963.

Starker and Sebok were fully imbued with the aesthetics that Prokofiev proclaimed: "I cultivate melody and strive to introduce feeling and emotion into my works. No matter that some call me a cubist, adding that I systematically avoid any emotional or romantic elements in my quest to reach only objectivity."

Next, and at the opposite end of the spectrum, is the Spanish passion of the two pieces by Granados and De Falla, pieces that nevertheless also convey melancholy. Starker and Sebok launch into the works with enthusiasm and intensity.

The last piece, Bach's Sonata in G Major, BWV 1027 for Viola da Gamba and Keyboard, is one of three he composed, probably in Köthen. Because they may have originally been written for other instruments, they can easily be transcribed for the cello and piano. They reveal the rich influences that pervaded the German region during the first half of the 18th century. The two musicians give us a sublime interpretation of the beauty of the counterpoint in this Sonata.

These recordings attest to the importance that the two superb musicians attached to working in the service of the composers. We wonder if, in that enchanted studio in Berlin in 1963, they knew how much further they went to bewitch us and touch us so profoundly.

The Spanish Queen (of the Piano)

She had small, square hands. She was 1.52 m tall. As a child, she banged her head on the floor to be allowed to play the piano. She was Catalan. She was a pianist—one of the greatest. Her mission? To spread the Spanish repertoire. Her name was Alicia de Larrocha.

When she passed away in 2009 at age 89, Nelson Freire wrote, "I truly loved her; she was a modest woman, and her playing shone like the sun." Acclaimed worldwide, she stood alongside Victoria de Los Angeles as one of Spain’s finest artists.

Larrocha’s journey began at three, seated at a piano. At four, she studied under Frank Marshall, a student of Granados. By six, she was performing publicly; by eleven, she played Mozart’s Coronation Concerto with Madrid’s Symphony Orchestra, astonishing audiences. Despite her small hands, she developed an airy, precise touch, even daring to record Rachmaninov’s Third Concerto. But beyond technical mastery, her playing held a profound sense of life and imagination.

Though trained in Bach, Mozart, and Chopin, Larrocha fought to bring Spanish composers to global audiences. Albéniz and Granados owe much of their fame to her. Her international breakthrough came in the 1950s when an American impresario heard her Spanish recordings and invited her to the U.S., where she triumphed.

Her performances honored Spain’s musical heritage. From Soler’s sonatas to Granados' Goyescas, she infused each note with nuance. She brought Goya’s paintings to life in El Pelele and mastered the dark contrasts of Surinach’s Canción y Danza. Albéniz’s Iberia demanded both power and delicacy—qualities she commanded effortlessly.

Her final tribute was to her friend Francis Poulenc, performing his Toccata—a soaring farewell.

As one admirer put it in 1982, "She walked toward a piano too big for her, sat, placed her hands on the keys… and became the queen."

Alicia De Larrocha, Piano

If there is one quality that best sums up the personality and music of Michel Petrucciani, it is generosity.
It was on stage, in the moment, in close proximity to the audience, in the warm intimacy of a club setting, that he most truthfully expressed his passion for sharing.
Many musicians, he confessed, play too selfishly. They play only for themselves and a few happy few. I play to please and to communicate. I’d like to think I’m a very happy person.

That’s why it’s essential for me to transmit and give others the generosity that is vital in art, music, and life.”
This is proven by these magnificent moments captured live in 1997 in Tokyo.
Accompanied by Anthony Jackson and Steve Gadd - two close friends with whom he shared an almost telepathic musical relationship - Michel Petrucciani delivers an intense hour of pianoforte, performing both standards and original compositions to unleash his boundless generosity and sensual lyrical expression live on stage.

Once again, one is struck by the solar clarity of his phrasing, the vigour and percussive precision of his touch (this master of tempo played ‘deep in the note’), and the breadth of his long lines where each note remains distinct and articulate. Michel infused everything he played with great emphasis and nuance - but above all, with sincerity. His heart sang immediately through the piano. This record is the most brilliant demonstration of that.
· Until now, this album had never been released on vinyl. Now available as a 180g double vinyl edition, mastered specifically for vinyl, housed in a 350g leather-textured sleeve with Struktura finish, offering an elegant texture and refined feel.

Random Coloured Vinyl
Nu-Tone presents Combo Tezeta's debut 7" vinyl record! The A-side, "La Danza Del Camaleón" is an instrumental cumbia-salsera that takes you on a tropical trip with a touch of psychedelia. On the flip side, a dark mid-tempo bolero called, "La Reina Nocturna". Remastered from the original verion, released by Discos Más in 2020. Based out of the Bay Area, Combo Tezeta plays a highly danceable blend of instrumental Cumbias, Chichas, and Musica Tropical inspired by the late 60's and early 70's era of psychedelic Peru. Layering the reverb-fueled sounds of surf rock onto the foundations of Cumbia, the band's focus is to highlight the rich melodies and hypnotic rhythms birthed from the Afro-Latin diaspora. Along with its appreciation of world music and its diverse cultures, Combo Tezeta's mission is to deliver the sounds and musical echoes of the past to the present through a combination of traditional and original music. Combo Tezeta was featured in Noise Pop 2023 and has played Pacific Northwest tours with Satan’s Pilgrim and Thomas Lauderdale of Pink Martini 2023. The band has played famed Bay Area Venues the Chapel, Eli’s Mile High Club and the Ivy Room.  In Summer of 2024 they toured the Pacific Northwest and Southern California, including an appearance at The Hardly Strictly Bluegrass Festival in San Francisco's Golden Gate Park. The band was chosen by NPR’s Tiny Desk Concerts to be one of 20 finalists (out of 7000), and featured them in the Northern California showcase of finalists at Lagunitas Brewery in 2024. “Oakland seven-piece Combo Tezeta kicked off the baile with a garage-band take on ’60s and ’70s classics and originals, with distorted guitars and jangly synths layering psychedelic ooze onto timbales and güiras. The musician’s solos revealed hard-won skills, but the band members looked remarkably chill as they played together fluidly.” – KQED

Lennart, a Dutch Producer Who Has Called Berlin Home for Several Years, Boasts an Impressive Discography With Releases on Ritmo Fatale, KopjeK Records, Italo Moderni, and Zonefocus. His Latest Creation, the "With Love Ep" Exclusively Crafted for Our Esteemed Label Skylax Records, Stands as a Testament to His Exceptional Talent and Serves as a Captivating Journey for Enthusiasts of Italo Disco, Dark Disco, New Wave, and Proto-House. the Ep Kicks Off With a Bang With the Mesmerizing "With Love," Featuring an Arpeggio That Enthralls the Senses, Reminiscent of the Brilliance Found in Todd Terje's Finest Works. "Traumwelt" Follows With Its Immersive and Ethereal Atmosphere, While "Roffa" Delivers Another Electrifying Banger. on the Flip Side, the Intensity Doesn't Wane. "Chrome" Bursts Onto the Scene With Its Vibrant Energy, "Security" Echoes the Brilliance of Klein & Mbo, and the Ep Concludes With the Enigmatic "One Night at Wetrinsky," a Track That Bears the Unmistakable Mark of Legowelt. in Essence, the "With Love Ep" Is a Stroke of Genius, Showcasing Lennart's Mastery of His Craft and Solidifying His Position as a True Visionary in the Realm of Electronic Music....

Adding to the allure, the artwork has been masterfully designed by the legendary H5 studio, a pillar of the French Touch movement. Known for their work with Daft Punk, Air, Étienne de Crécy, Röyksopp, and Vitalic, as well as for their Oscar-winning short film Logorama, H5 now handles all SKYLAX RECORDS artworks, bringing their signature visual excellence to each release

Over the past near-decade, Lancashire's medieval metal phenomenon WYTCH HAZEL have been honing an uncommonly wholesome, rustic and devotional brand of timewarped hard rock that's all their own, with 2016's Prelude and 2018's II: Sojourn summoning to mind fevered images of Robin Hood and his Merry Men grooving to Jethro Tull and Thin Lizzy. Yet within moments of pressing play on their third LP, III: Pentecost, the musty mystical minstrelsy takes a back seat in favour of a rich, sumptuous, anthemic late-night drivetime vibe, passionately embracing the most high-end smash-hit classic rock and metal circa its late 1970s heyday. "I thought I put a lot into the second album, but this album has been an absolute obsession," stresses the band leader, Colin Hendra. "Every aspect had to be as good as possible. We've gone back and forth, Ed was tinkering with it for months on end. There's quadruple tracking going on with the rhythm parts, then we've doubled, tripled and quadrupled all our lead parts to get that richness and fullness of sound, all meticulously planned with pages and pages of organisational notes. It wasn't just `get in the studio and see how it goes!'" he laughs. "One day I did 14 hours of vocal recording. All vocals are double-tracked, I can't express how much hard work that is. The last album feels like a breeze compared to what we've done with this - and I don't plan on ramping it down!" Musically there are gorgeous self-professed touches of Black Sabbath, Blue Öyster Cult, AC/DC and early Scorpions_"With the soloing I was trying to go for Michael Schenker" beams Colin_while the scampering headbanger I Will Not initially took a nod from Angel Witch, who Hendra was helping out on second guitar back in 2015 when the track was composed, before studio treatment made it sound "a lot more Wytch Hazelly". But perhaps the most lateral comparison is to a band from the opposite spiritual realm, with Archangel an explicit homage to Swedish faux-Satanic devil cult Ghost. "I find them fascinating, Ghost; musically great, the songwriting is spot-on," enthuses the frontman. "We share an intrinsic connection, with Bad Omen honcho Will Palmer being the person who discovered us both. "Music is created for all, it's a common grace for everyone," he affirms, "which is why the music that shows the glory of God the most, in my opinion, is not music created by Christians. It's Black Sabbath!"

[b] A2 Rich Girl, Arranged By – Christopher Bond, Daryl Hall, John Oates, Arranged By [Strings] – Christopher Bond, Written-By – Daryl Hall

Depth.Request proudly announces the debut full-length album from French electronic artist Pierre Berge-Cia - a culmination of two years of dedicated experimentation and creative exploration. This inaugural LP represents a significant milestone in Pierre Berge-Cia's musical journey, showcasing his innovative approach to electronic music.

Crafted through experimental processes and delving into themes of tension, control, and movement, "If You Do, Then When?" unfolds as a visceral journey through the complexities of bodily and sensory experience. Each track is designed to reflect the human body in all its shapes and forms, using innovative sounds and structures to evoke physicality and movement, and aiming to resonate with listeners on a deeply corporeal level.

The album was produced using a combination of the Elektron Digitone synth, a Mackie CR1604 mixer, a Shure SM57 microphone, and a limited selection of digital plugins to maintain sonic consistency. Mastering was handled by Pierre's close friend, Stefan Brown - also known as "Lesser Of". His expertise as a top-tier sound engineer at Abbey Road Studios helped shape the LP's pristine and powerful sound identity. Additionally, the tracks were tested and refined using some of the electronic scene's most beloved sound systems, ensuring an impactful club experience.

The album's artwork, created by Pierre Berge-Cia himself, is a reinterpretation of one of his favorite art performances: "Rest Energy" by Marina Abramovic and Ulay. The tension of the drawn bow and the close-up framing of the subject evoke a palpable sense of danger and emotional intensity, mirroring the physical and psychological strains within human connection. Pierre used his own hands as the model, infusing the artwork with a deeply personal and intimate touch that amplifies the psychic gravity and thematic cohesion of the album.

Pierre Berge-Cia's debut LP is a multi-sensory experience that challenges listeners to feel sound in its most physical and affective form.

Ukrainian Riot Grrl Trio 'Death Pill' Return With 'Sologamy' Their Much Anticipated Second Album. Two years on from their sensational debut, Ukrainian 'Riot Grrls' Mariana, Anastasiia and Nataliia, aka Death Pill are back. And back in full force, locked and loaded with a mighty set of tunes, _ as they put it. 'A bold exploration of personal empowerment'. 'SOLOGAMY' is fierce, heavy and melodic. The album's 10 tracks mark a bold evolution in the band's sound and Death Pill really deliver with ferocity and belief through multiple gear changes and genres as if it were easy. Hardcore, punk, grunge, thrash, riot grrrl, emo, are just some of the touchstones this album moves through, and all with the accomplished ferocity and memorable melody the band introduced on their debut. There are cellos, piano's, sound effects and ornate arrangements that open out their sonic palette, there's a bit of pop and even a bit of prog. But rest assured _ It's all pure 'Death Pill'. Thematically 'Sologamy' is, at its core, a celebration of the self! DP says: "The title, inspired by the concept of marrying oneself, speaks to the importance of making a personal commitment to self-care, happiness, and emotional well-being. In an era where that can sometimes be misconstrued as selfishness, Death Pill pushes back against these misconceptions, inviting listeners to embrace the power of prioritizing their own mental and emotional health." "Each track on the album is quite different from the last, and we see this as a way of accepting and supporting yourself in any emotional state. You arrive in this world alone and you leave it alone. The bottom line is: You're the only person you've got. "Every song on the album is a story that happened to us. Maybe it'll happen to you too. But every story deserves to become a song." "Sologamy" is more than just an album-it's a call to action" The very special LP version is not only frosted clear vinyl, but comes w/ foiled sleeve art, poster, sticker and free dlc! CD is nice too.

Recorded in 1990 for the noted New York audiophile label Chesky Records, My Blue Heaven was John Pizzarelli's frst signifcant album release, heralding the arrival of a major talent and future Grammy- winning star

Supported by a dream team line- up of veteran jazz stars - including Pizzarelli's guitarplaying father, Bucky, together with trumpeter Clark Terry , bass supremo Milt Hinton, and drummer extraordinaire Connie Kay - the New Jersey- born singer and virtuoso of the seven- string guitar serves up a swinging cache of evergreen jazz standards. With the album's highlights ranging from spirited revamps of the Nat King Cole Trio's 'Candy,' and Dave Frishberg's 'Can't Take You Nowhere,' the impeccably recorded My Blue Heaven represented a signifcant step in Pizzarelli's early musical journey, helping to introduce him to a wider audience. The album is reissued on 180g One Step Pressing Vinyl LP.