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Lénok’s 'Langue of Tongue' is a descent. An unhinged pinballing down a realm of incomprehension and lunacy, a darkly psychedelic ego-death-spiral into a world of pure, deranged disquiet. It is, and this cannot be emphasised enough, a truly fucked up place. It comes complete with clearly marked borders delineated by its opening and closing tracks '(Entrance' and 'Exit)’. The message is clear: this is less album than zone.

There's no comfort to be found here. It’s like the inner monologue of some insectile, cyborgian abomination, something unfeeling and hostile, something that could only thrive in a mirror world that perverts light and sullies warmth. It's a netherworld: tracks jut out and stab like cold, craggy wastelandscapes, tangled meshworks of alienic transmissions bleed out into deformed knots of gurgling white noise, lacerations of sound roil and heave and claw as if imprisoned within oppressive waveforms.

‘Tongue’ is marked by a kind of wackiness, a demented slapstick that renders its darkness all the more sinister. Voices wail and taunt like schizophrenic spirits trapped between torment and cackling ecstasy. Tracks giggle and skitter as if populated by grinning, snaggletoothed shadows.

‘Langue of Tongue’ is recommended for the curious and advanced listener. This is music for whatever the opposite of escapism is — it’s REAL twisted. But sometimes morbid fascination takes hold. Sometimes you lift the rock, because you can’t help it, and you observe the squirming mess of life it plays host to. What you experience may not be pleasant, but you might just struggle to tear yourself away.

f *Goodbye, Asshole* was the wild night—tequila-sharp riffs, sticky floors, and last-call chaos howled into the void of a disappearing city—then *Boone* is the merciless morning after. The sun cracks the blinds. The brain throbs. Every bad decision gleams in the hard light, raw and undeniable.

Fuckwolf’s second album pares their scuzz-wave blitz down to exposed nerves: Eric Park’s basslines stalk like a hangover pulse, Simon Phillips’ drums land like a palm slapping the alarm into silence, and Tomo Yasuda’s guitar wirings spit like diner coffee left to burn on the hotplate. The fog has lifted; the damage is inventoried. These ten tracks are crime scene Polaroids, tales of longing and woe, fresh mystery bruises and eulogies.

There’s no wallowing here, just the tight, terrible beauty of a band that’s stared down the void and come back swinging.

The party’s dead. Long live the reckoning.

Fuckwolf have been around the SF scene for a while, and it took Ethan Miller (Silver Current / Comets On Fire / etc) ages to get them to record the debut album, they then toured Japan and released a limited split mini with Green Milk From The Planet Orange. They reconvened late 2024 and recorded Boone..

This new album "Boone", polishes and extrapolates the fizzing psychedelia of their first album, and turns Fuckwolf into the heirs to the crown of mass-consumptive Sike-rock. This album is in the same vein as Mercury Rev's "Yerself Is Steam", Butthole Surfers' "Rembrandt Pussyhorse" and Flaming Lips "Telepathic Surgery", there's sheer pop in amongst the mind's eye rattling dollops of psychedelic wallop... the Koolaid was drunk and the songs were made.. plug it in, turn on...drop out.

Master by the one and only Mikey Young!!

Let the Good Times Roll (Terlinde Music Shop, St. Paul, MN, 1956)
I Got a New Girl (Informal Recording, Hibbing, MN, 1959)
Jesus Christ (Informal Recording, Minneapolis, MN, 1960)
K.C. Moan (Informal Recording, Madison, WI, 1960)
Remember Me (Informal Recording, East Orange, NJ, 1961)
Railroading On the Great Divide (Gerdes Folk City, NYC, 1961)
Man of Constant Sorrow ('Bob Dylan' Rehearsal, NYC, 1961)
He Was a Friend of Mine ('Bob Dylan' Outtake, NYC, 1961)
Ramblin' Round ('Bob Dylan' Outtake, NYC, 1961)
Story: East Orange, New Jersey (Party, Minneapolis, MN, 1961)
Po' Lazarus (Party, Minneapolis, MN, 1961)
Dink's Song (Party, Minneapolis, MN, 1961)
I Was Young When I Left Home (Party, Minneapolis, MN, 1961)
Cocaine (Party, Minneapolis, MN, 1961)
Talkin' New York (Gerdes Folk City, NYC, 1962)
Corrina, Corrina (Gerdes Folk City, NYC, 1962)
(I Heard That) Lonesome Whistle ('Freewheelin'' Outtake, NYC, 1962)
Rocks and Gravel ('Freewheelin'' Outtake, NYC, 1962)
Let Me Die in My Footsteps (The Finjan, Montreal, 1962)
Tomorrow Is a Long Time (Party, Minneapolis, MN, 1962)
Don't Think Twice, It's All Right (The Gaslight Cafe, NYC, 1962)
The Cuckoo (The Gaslight Cafe, NYC, 1962)
The Ballad of the Gliding Swan (BBC-TV, London, 1962)
John Brown ('Broadside Ballads' Album Version, NYC, 1963)
Dusty Old Fairgrounds (Town Hall, NYC, 1963)
House of the Rising Sun (Informal Recording, NYC, 1963)
Seven Curses ('The Times They Are A-changin'' Outtake, NYC, 1963)
Masters of War ('Freewheelin'' Alternate Take, NYC, 1963)
Girl from the North Country ('Freewheelin'' Alternate Take, NYC, 1963)
Liverpool Gal (Party, Minneapolis, MN, 1963)
Boots of Spanish Leather ('The Times They Are A-changin'' Outtake, NYC, 1963)
Moonshiner ('The Times They Are A-changin'' Outtake, NYC, 1963)
The Lonesome Death of Hattie Carroll (Party, Los Angeles, 1963)
The Times They Are A-changin' (Informal Recording, Los Angeles, 1963)
Who Killed Davey Moore? (Carnegie Hall, NYC, 1963)
Lay Down Your Weary Tune (Carnegie Hall, NYC, 1963)
Blowin' in the Wind (Carnegie Hall, NYC, 1963)
North Country Blues (Carnegie Hall, NYC, 1963)
A Hard Rain's A-gonna Fall (Carnegie Hall, NYC, 1963)
Talkin' World War III Blues (Carnegie Hall, NYC, 1963)
Only a Pawn in Their Game (Carnegie Hall, NYC, 1963)
When the Ship Comes In (Carnegie Hall, NYC, 1963)

Alpha Maid presents her debut album ‘Is this a queue'

We only know 4% of the universe, there is hope in that and the unknown 96%.
credits

After so long it becomes harder to say new things about older things you now just do. Some things you've become. Some things you simply (never simply) are. The thing becomes a slippery notion. The self slides along with it. After this long, the story is whatever are the songs. A Self-portrait at two decades. Here are 11 new ones, from the current constellation, and a future still to come. The cement is still wet on that one. From the forest near where I now live you can hear a chorus of different birds in voice at once, competing but each defined, in defence of a territory or to attract a mate. There's an app that tells you so. I wonder, too, what that app doesn't reveal, if their nature need not share those same purposes. This is simply (never simply) how it exists. If we can't speak to the mysteries of these strategies, they at least persist, regardless of who picks up the frequency. Singing to itself, and there will always be these kinds of songs. Indies only Blue Vinyl! 1.Ulrika Spacek - 'Interesting Corners' 2. Empty Country - 'D3SP4IR' 3. The Reds, Pinks & Purples - 'New Market Space (Down the Stairs Ver.) 4. Cindy - 'The Thousand First' 5. April Magazine - 'U Bop' 6. Index For Working Musik - 'Going to Heaven On the End of A String' 7. Midding - 'Do As You Would' 8. Luft - 'My Third Eye' 9. Hospital - '25 Jade Place' 10. William Doyle - 'The Sun Ain't Doing It For Me Lately' 11. Daily Toll - 'Begin Again'

"Seishin" is a focused, four-track EP from Japan-born, Berlin-based producer Shingo Suwa on Acid Camp. The title translates to "spirit," and the record treats that idea as both a feeling and a relay: an original transmission from a time of quarantined isolation followed by responses from trusted collaborators. Clay Wilson contributes two versions: one a deep, tensile workout and the other a companion take sparked by the legacy of Jasen Loveland (1980-2021). Jasen Loveland also worked on a remix of his own in 2021. "Seishin" is not only about losing yourself-it is also about the resonance of spirit and memory, passed across friends, to find yourself again.

BEWARE! THE ECHOES OF DEATH’S HORRID CHANT ARE DRAWING CLOSER…From the endless fields of obsidian darkness rise eerie hymns, echoing an ancient, long-forgotten apocalypse that slices through the eternal night. OBSIDIAN SCAPES are the embodied nightmare – a deathly veil of cascading riffs, raining down like the lethal erosion of cosmic worlds. Layered with relentless, thunderous drums and ghostly dirges, their music summons visions of a dying universe.Their sounds crawl like molten madness into the depths of the mind, painting aphotic images of shadowy, chthonic cathedrals and titanic monoliths rising against a crumbling horizon. Despair and anguish permeate every note – dirges for a world drowning in the abyss of decay and tributes to powers lurking beyond human comprehension.Including one song from the upcoming debut-album Death Chants Echo From Aphotic Void and an unique and exclusive cover-version from SIGH’s “At My Funeral” (only available on the 12″EP).Mixed and mastered by Thomas Taube at FiveLakes Tonstudio.ltd 500, 300 x black vinyl, 200 x cream white bone. Incl. download-code. S

Originally recorded in the Dutch towns of Ureterp and Groningen between 2003 and 2005, 'Through Friendly Waters' marks a pivotal moment in Reimer Eising’s —better known as Kettel— journey through melodic braindance and ambient electronica. With his classical training on piano and a refined sensibility for gentle electronic textures, Kettel weaves together shimmering piano motifs, warm ambient textures, playful breakbeats, and pastoral atmospheres that shimmer with emotional resonance.

First released in 2005 via his own label Sending Orbs, the album soon achieved cult status among IDM fans, celebrated for balancing playful compositional elegance with heartfelt sonic depth. TFW still remains as a timeless soundtrack that perfectly encapsulates why Kettel remains a key figure of electronic music enthusiasts two decades on.

To honour its twentieth anniversary, Lapsus Records presents 'Through Friendly Waters (20th Anniversary Edition)', marking the album’s debut on vinyl within the Perennial Series. This edition has been remastered by Alex Ferrer and redesigned by Basora, resulting in a deluxe version that also includes the tracks "Unistar" and "Toen", which were originally released only on CD by the Timothy Really label back in 2007.

Along with his long-time DJ partner Fabio and contemporaries Goldie and LTJ Bukem, Grooverider is known as one of the originators of the UK jungle/drum and bass scene. In the early nineties he founded Prototype Recordings which soon became the home of many influential 12” singles that showcased a new side of breaks-heavy electronic music: deep, gritty, and futuristic. In 1997 Grooverider put together a collection of 12 heavy hitters from the Prototype catalogue, some of which previously only available as white label promos on acetate such as Dillinja’s “Silver Blade” and Ed Rush & Fierce’s “Locust”. Lemon D’s “City Lights” was previously only available on acetate and the CD version of this release. Now, after more than 25 years, a selection of these tracks is available again in the form of a DJ-friendly double LP. Finding these tracks separately will be very difficult, so don’t miss your chance to snag yourself a copy of this one. The Prototype Years is now available as a limited edition of 750 individually numbered copies on translucent red coloured vinyl.

Repress of ‘Glow On’, the 2021 Grammy nominated third studio album from Baltimore hardcore punk quintet Turnstile. Co-produced by the band themselves along with hip-hop producer Mike Elizondo, and featuring the guest vocals of Blood Orange.



Recorded with producer Mike Elizondo and co-produced by the band’s Brendan Yates, GLOW ON follows TURNSTILE’s 2018 breakthrough album TIME & SPACE, which saw the Baltimore band charting new ground for hardcore, expanding stylistic boundaries and celebrating new possibilities.



With GLOW ON that utopic vision is fully realized; 15 tracks devoid of borders, boundaries, or entry obstacles, only abundant imagination, heart, and grooves plucked from all corners of the musical spectrum. GLOW ON includes the singles “HOLIDAY,” “MYSTERY,” “NO SURPRISE,” and “T.L.C. (TURNSTILE LOVE CONNECTION) from TURNSTILE’s recent TURNSTILE LOVE CONNECTION EP. GLOW ON also includes guest features from Blood Orange on “ALIEN LOVE CALL,” “LONELY DEZIRES,” with additional vocal contributions on “ENDLESS.”



“TURNSTILE has the ability to lure even the most poptimistic listener with spectacular hooks,” affirmed NPR remarking on the band’s single “HOLIDAY,” while The FADER named the track one of the 20 Best Rock Songs Right Now. Stereogum declared, “If you’re gonna go big, you might as well go gigantic, and with ‘MYSTERY’ TURNSTILE sound like they’re about to be huge.”



Bringing superhuman energy to the stage, TURNSTILE are scheduled to perform a string of sold-out headline shows this summer in the US, followed by appearances at next year at Spain’s Primavera Sound on 6/5, France’s Hellfest on 6/23, and the UK’s Outbreak Festival on 6/24.



Always more appeal than demand, more liberation than limitation, TURNSTILE extended their hand in 2018 with TIME & SPACE. Recorded with producer Will Yip, TIME & SPACE marked Turnstile’s Roadrunner Records debut and saw the band exploding the most outsized tropes of hardcore with tremendous heart. The album earned “Best of 2018” honors from Kerrang!, The New Yorker, The New York Times, Rolling Stone, NPR, Billboard and more, with GQ naming TIME & SPACE one of “The Best Albums That Shaped the 2010s.”



Comprised of Brendan Yates (Vocals), Franz Lyons (Bass/Vocals), Brady Ebert (Guitars), Pat McCrory (Guitars), and Daniel Fang (Drums), TURNSTILE’s brand of youth-minded, youth-driven hardcore punk is intent on breaking down barriers, sonically and ideologically.

We're thrilled to announce the release of "The Mackenzie - Classics EP 2", the long-awaited follow-up to the popular EP 1 everyone was excited about. This limited edition pressing comes on stunning smoked black-colored vinyl, with only 500 copies available worldwide. Housed in a deluxe threefold sleeve, this release is a true collector's item.

The Mackenzie name is legendary in the Belgian trance scene, and this EP brings together some of their most sought-after classics and overlooked masterpieces. Each track has been carefully remastered for 2025, breathing new life into these timeless anthems. This EP 2 is spanning over more than 2 decades of hit releases, amongst of them are "Falling In Love", "Walk Away", "All I Need" and "You Got To Get Up".

Expect rich melodies, mesmerizing builds, enchanting vocals, and that unmistakable 90s spirit that made "The Mackenzie" iconic in trance. This is not just the successor of EP 1 – it's the final chapter in a tribute to the golden era of Belgian quality trance music.

fabric presents salute features music from pioneers and contemporaries alike, including Kerri Chandler, Bodhi, Dorian Concept, Junior Sanchez, Redhead and more, alongside two originals from salute. More than a collection of tracks, it’s a cultural statement: a journey through club culture, personal identity, and global roots. To celebrate the release, salute will headline fabric’s Room 2 on 10th October, joined by a handpicked lineup (TBA), bringing their vision full circle from mix to dancefloor.

Lead single ‘double luxury’ sets the tone for the project, capturing salute’s signature blend of soulful energy, deep groove, and euphoric release. Built on spacious low-end and an undercurrent of euphoria, warped vocals twist through sleek, propulsive drums to form a house cut that channels the emotional intensity and groove at the heart of their sound. Arriving off the back of a huge summer, with standout sets at Coachella, Glastonbury, a North American tour and All Points East, ‘double luxury’ provides a fitting entry into a milestone chapter for one of the most vital voices in club culture.

salute says:

“my contribution to the fabric presents compilation series is my way of contextualising the music i've been writing over the last couple of years. i wanted to include bits of all the things that make up the salute sonic palette: loopy, sample based house music, dense and soulful chords and beautiful synths, slick and groovy drum work. it's an exercise in beautiful house and techno music, or my definition of it anyway.”

Launched in 2019, fabric presents has become one of electronic music’s most respected mix platforms, with contributions from Andrew Weatherall, Laurent Garnier, The Martinez Brothers, SHERELLE, Bonobo, Overmono, Confidence Man, The Streets, and more. Rooted in the legacy of fabric’s monthly CD mixes, the series now embraces a wider range of releases across digital, CD, and vinyl, each paired with a performance at the iconic London venue. With fabric presents: salute, they take their place in this lineage, joining the dots between underground heritage and the future of club culture.

Vienna-born salute has become more than a producer: they are a cultural innovator representing a club scene that is diverse, queer, and community-driven. Since emerging as one of the UK’s most exciting electronic voices, they have built a reputation for balancing raw emotion with dancefloor ecstasy, weaving grime, UK garage, electro, French house, jazz, gospel, R&B and hip hop into a singular, unmistakable vision.

Their music channels as much emotional resonance as physical release, tracks that turn longing into euphoria, intimacy into collective celebration. This ability has not only won over audiences worldwide but also earned praise from heavyweights including Four Tet, DJ Seinfeld, Floating Points, Skrillex, Fred again.., Annie Mac and Benji B. Their now-legendary Melbourne Boiler Room set, one of the platform’s most-watched, further cemented salute’s reputation as a defining force in the global underground.

The release of their 2024 debut album True Magic on Ninja Tune solidified salute as one of dance music’s most vital voices, its success confirming what the underground had long known. With fabric presents, they mark another milestone, bringing their curatorial vision and boundary-pushing sound to one of electronic music’s most iconic platforms.

Skip Audio Records is proud to present a new EP from the dynamic duo Chris Llopis & Cirkel Square. This vinyl-only release features three original tracks that showcase the artists' signature sound, blending intricate grooves with atmospheric textures.
Leading the charge is a powerful remix from Argentinean maestro Alexis Cabrera. His interpretation adds a unique twist, taking the listener on a mesmerizing journey through hypnotic rhythms and deep, evolving melodies. Additionally, this release features a captivating DubTape remix, offering another unique sonic perspective.
This record is a must-have for any vinyl enthusiast and a perfect addition to any DJ’s bag. With its blend of original productions and standout remixes, this vinyl is set to be a timeless piece for your collection.

Tensal is the solo project of Héctor Sandoval, also known as half of Exium and Komatssu. Since its creation in 2014,
Tensal has become the channel for his most personal vision of Techno, blending diverse rhythms and textures with a
powerful and distinctive identity. Alongside his own imprint Tensal Ltd, he has released on some of the scene’s most influential labels, including Mord, Modularz, Perc Trax, Blueprint, Arcing Seas, PoleGroup, Float, Kynant, KR3, A.R.T.S,
Warm Up and Soma, where he delivered his first LP in 2018.

He has remixed artists such as Slam, Electric Indigo, Anthony Linell, Mike Parker, Shed, Pangaea and Shifted, while his
tracks are championed by leading DJs like Jeff Mills, Richie Hawtin, Marcel Dettmann, Ben Klock, Ellen Allien, Laurent Garnier and DVS1. His DJ sets, built largely from his own productions, have taken him to more than 60 countries
worldwide, with performances at iconic clubs and festivals including Berghain, Tresor, Awakenings and Fabrik.

Beyond Tensal, Sandoval explores different frontiers of electronic music: with Juan Rico (Reeko) he formed Komando Terrorismo Sonico (K.T.S.), releasing the album Insurrección in 2021; in 2022 he launched Syndromania on Oaks
Records, a vinyl-only project fusing Techno with Trance, EBM, Electro and Acid. In 2023 he joined BPitch Control,
releasing several EPs and performing at the label’s We Are Not Alone events, while in late 2024 he debuted on Blueprint
Records with Highland Landscapes, a collaboration with Vince Watson (Amorphic), followed by a joint EP on Mord in
2025.

Where we welcome you to the Fourth installment of 'Divine Harmonics" Featuring Kuniyuki Takahashi. Music produced in collaboration with friends
Here we present Part one of a Two Part Series.

Recorded in a full-fledged Recording Studio in Brooklyn New York, the idea behind this current project was to assemble a few admires of Kuniyuki's music and invite them to participate in the composition.
The musicians on this project include master percussionist composer Lekan Babalola on African Drums and Percussion, Lead Guitarist James Bergeau , Joaquin Joe Claussell Main Voice and Percussions; And of course, the artist himself Kuniyuki Takahashi and Acoustic Piano, Keyboards and Drum Programming.
Artwork Created by the one and only artist Akemi Shimada.

OOOOH! by Alex Bad Baby Lukashevsky with Cocoa Corner (2025)

Celebrated veteran of Toronto’s music scene, known for his boundary-pushing approach to folk and avant-garde music, twists rock music into strange and brilliant new shapes with the help of young jazz players, U.S. Girls, and his own immensely talented son.



OOOOH! is hard on the outside and soft on the inside. Made in the spirit of unity,
humanity, and poetry — disobediently renouncing the glory of personal triumph for the
generosity of an honest experiment. On the last track of the album you’ll hear “Or do you only ever never want to make a single enemy? / That’s not freedom or humility / It’s nothing, honestly.” Oooh, that's a bad baby!

A celebrated Toronto songwriter and performer, Alex Lukashevsky has always been disobedient. Which simply means, nothing is off the table when he’s looking for his
poetic voice; when trying to find the realest I of the teller. As he sings on the lead track “that musician that’s dead” The musician is radical/ it’s the world that’s demented/ listening with their eyes, the music looks dented/ they’re over-represented.
OOOOH! was recorded in January 2024 at Sound Department in Toronto, engineered by Patrick Lefler (ROY), mixed by Grammy-nominated producer Matt Smith. All the songs were tracked live off the floor in two days, with one extra day for recording vocals, to keep the recording fully alive and breathing. As leader of Deep Dark United, as a solo performer, and a sideman in Brodie Wests’ Eucalyptus and Luka Kuplowsky’s Ryokan Band, Alex has been an outsized influence on the Toronto music scene that spawned acts like Broken Social Scene and Owen Pallett. (Pallett, who has toured with Lukashevsky, went so far as to record an entire album’s worth of Alex’s songs, backed
by a full orchestra.)

Lukashevsky has approached each of his albums and projects as something completely new, using only the musical boundaries he creates with each song. Even when he
has recorded songs with nothing but his voice and his own acoustic guitar accompaniment, the results are never “stripped down” or “back to basics,”
Gong! How do you get to heaven / have fun! have fun!
It’s cool to approach music as a game of “spot the influence”; Burt Bacharach-meets-Black Flag; Lana Del Rey-meets-LCD Soundsystem etc. Glorified mash-ups are promising because of their conversational nature. But they can turn us into hyperboreans; blowing cold air beyond ourselves while doing what we can to remain warm. To devise a game or a narrative is to have a winner and a loser, but we all know that just as you win/ so you lose. And does anything really change? Alex Lukashevsky and Cocoa Corner are more at ease drawing blind contours or playing an old game like consequences. They let things add up without knowing particularly how. Cognition is recognition.

Lukashevsky, in addition to writing all the songs, plays guitar and sings on OOOOH!, doing both in ways that are soulful and spikey at the same time. Joining him on guitar and vocals is his oldest child, Charlie Lukashevsky, who, at 23, is already a talented performer and songwriter in his own right. Cocoa Corner also includes Aidan McConnell, an in-demand drummer and composer, Jack Johnston, a jazz bassist and Barry Harris acolyte, and percussionist Evan Cartwright (The Weather Station, U.S. Girls, Cola, Tasseomancy), who plays steel pan and marching drum.

Working with his son and with other younger musicians is central to the album’s
unpredictable aesthetic. It reinvigorated the sound in unexpected ways. Lukashevsky says, “I had to reconsider my own instincts. I had to deal with being 99 years old.”
In addition to these performers, the album includes a tasty contribution from Meg
Remy, the visionary musician and producer who is the leader of the critically acclaimed
project U.S. Girls. Remy duets with Lukashevsky on the imagistic and sprawling album
closer “things keep happening.”
About that album title: OOOOH! is taken straight from “that musician that’s dead” an
arch and unhinged comment on the exertion required to navigate a lifetime of music making.
Lukashevsky’s delivery of that one emotive word is a kind of cultural posture, but also a
hundred percent primitive expression. The impact is never less than visceral. His vocal
delivery ranges through rich baritone blues to keening falsettos to a kind of sprechstimme that periodically steps out from the music to grab the listener’s shirt. He
doesn’t sound too nice, but he is sincere. When life gives you lemons lament.
For OOOOH! his first official full-length album since 2012’s Too Late Blues, (a collection of knotty-yet-effervescent tunes built upon the enchantingly serpentine harmonies of Lukashevsky and his vocal collaborators, Felicity Williams (Bahamas, Bernice) and Daniela Gesundheit (Snowblink, HYDRA)), Alex has once again broken apart and rebuilt his own approach to music. Or rather (because that sounds too over-determined), he
has allowed his music to build itself into strange new shapes that only fleetingly and
coincidentally, but happily, resemble anything that might be called rock and roll. There is some editorializing within the song’s lyrics— Lukashevsky even cheekily contributes to the “spot the influence” game with the line “Muddy Waters, Rite of Spring!” a funny preemptive strike against anyone already reaching for some variation of avant-blues to describe what the song is up to here. In fact there are many names checked on this record (literally and in spirit); they are the lily pads that trace the path of this expression! Palestrina, Peter Pears and Benjamin Brittain, Andrés Segovia, Stravinsky, Lotte Lenya, Alice Coltrane, Skip James, Chuck Berry, D’Gary, Betty Carter, Mukhtiyar Ali, Chuck D, Yoko Ono, Hailu Mergia, David Bowie, Jane Siberry. rhythm is a skeleton mansion / haunted by melody / feckless prodigy / the world is under a spell / cast by some demon angel / Practice day and night / Try as hard as hell / no one can sing that well Musicians are often worried by the way in which they are prepared to fail rather
than how they would like to succeed; it’s such a deep concern that it tempers their creativity and shackles their process. Current cultural proclivities, tend to comfort a certain kind of artistic failure and abnegate another kind. How many testimonials, full of heartfelt care and investment, have you heard for Taylor Swift, and yet a craftsman like Chris Weisman is often dismissed easily as though he’s doing something anti-social. what’s throwing itself in my ears and my eyes / arrogant devil ad hominem christ.
The music you will hear on this recording veers off in multiple directions at once,
and features a rock and roll spirit with a divergent heart. This is no sclerotic clomp of the Average Rock Song, but in fact a flood of humanity in all its darkness and moodiness and unpredictability. If most performers make songs that are like sports cars or pickup trucks to drive around, Lukashevsky has built something more akin to a rowboat in a tree: it’s weird and beautiful.

Wally Badarou is a synth pioneer and musical polymath. But rarely does he sing over his sumptuous tracks. The 6 songs that comprise new record Simple Things finally realise Wally's vision for select backing tracks from his beloved Colors Of Silence.

The tracks were originally developed back in 2001 for the release of the original CD; here, Wally has “simply" added overdubs and vocals to their mastered mixes with some discerning edits. Simply put, Simple Things is another slice of simply stunning Wally Badarou genius.

Simple Things has been decades in the making. Indeed, Wally struggled not only with the idea of singing these wonderful songs himself but singing them in English and writing his own lyrics, while wrestling with the sensational backing tracks, which themselves seemed to have taken on a life of their own.

As Wally explained to us: "In addition to the instrumental artist I have been known as, so far, there has always been a singer who simply was not sure he was, up until now. Even though “Back To Scales Tonight”, my very first album, was, indeed, a song album."

Opener "It Couldn't Be You" embellishes the uptempo groove of soca-funk gem "The Lights Of Kinshasa". As Wally explained to us, it's about “a simple love story somewhere, one rainy night, under the lights of Kinshasa. A woman, a man, online dating, quite usual in our times. Then they meet, almost missing each other." The guide vocal Wally had laid for Colors Of Silence - with an organ sound - seemed striving for words in Linguala, a Congolese language he could not speak. Therefore the decision to do it himself was not an easy one, for it had to be in English to fit his singing. We think it turned out pretty good!

"You Can't Hide Always" vocalises Wally's deep concerns set to the propulsive "Smiles By The Millions": "Populism, ostracism, radicalism, ethics and values all turned upside down worldwide, are they all inevitably exacerbated by our social networks? It could all melt down one day, like a house of cards in the ocean of fake news and false prophecies”. Wally wanted to keep the track as bare as possible but, inevitably, the backing vocals and the synth-brass arrive ultimately to present a welcome 70s flavour, with no snare-drum added.

The bright and breezy "We'll Make It Again" adds vocals to "Where Were We", a tropical, reggae-tinged bounce through the islands. Here's Waly: "Where were we when we last said: "I love you"? Simple words to express something quite common, but never quite simple to deal with. A simple song about the resilience of the broken hearts.” The reggae came from it being conceived when Wally was scoring for “Third World Cop”, a 1999 Jamaican action movie.

"Walk Straight Ahead" provides Wally's gorgeous, contemplative and idiosyncratic vocals to the deep serenity of Colors Of Silence highlight, "Amber Whispers". It's a gliding, divine, mini melodic masterpiece. It'll make you swoon in its extreme beauty. As Wally describes, "it started as just whispers, sweet amber whispers. Then the colour turned darker, as darker skies seemed to fall upon us while the whole world keeps on walking ahead, straight ahead, regardless of the blatant warnings, feeling much too comfortable in conformity. Initially, the verses were to be spoken only. I realised they could be sung all the while, without overshadowing the ethereal atmosphere." Amen.

The serene, celestial "Painting My Life Blue" presents the vocal version of "Days To Wonder". Says Wally, "how does it feel when your second half is gone after decades of riding life together? Past the temporary loss of your bearings, you come to realise you've been blind to the essential, and suddenly you can see...For this most intimate song of mine, I had tried to come up with a melody on top of the existing backing track, long before realising the melody was in the keyboard part already. It just needed to be properly mixed with it."

The profoundly emotional "Just Two Lovers" works up the formerly-too-brief and glorious "Crystal Falls" into a much fuller masterpiece and features acoustic guitar sparkle before fully glistening with some gentle head-nod percussion. Waly explains further: "Dear little green men, please tell me, what is it about us that makes you want to come and visit us so often (contrary to Fermi's assertion)? And here is the reply I believe I heard them sing: "You've got the key you've been searching for: Love”. I reverted to the initial backing track I had made around 1985, which already bore the melody, and which I added acoustic guitars to, before singing it." An astounding closer.

A synth specialist, there can be few artists more under-appreciated given their vast influence than Wally Badarou. His solo work practically defined the sound of the Balearic DJs of the 1980s, and thus the more sophisticated sound of dance culture thereafter. He was one of the Compass Point All Stars (with Sly and Robbie, Barry Reynolds, Mikey Chung and Uziah "Sticky" Thompson), the in-house recording team of Compass Point Studios responsible for a series of albums in the 1980s recorded by Grace Jones, Tom Tom Club, Mick Jagger, Black Uhuru, Gwen Guthrie, Jimmy Cliff and Gregory Isaacs. Badarou's keyboard playing could also be heard on albums by Robert Palmer, Marianne Faithfull, Herbie Hancock, M (Pop Muzik), Talking Heads, Manu Dibango and Miriam Makeba. He also produced Fela Kuti. Phew!

When we asked Wally about the significance of this collection's title, he explained: "These are "Simple things” that everyday’s life seems to build upon. The simplest are the harder to describe, but when satisfactorily described i.e. with simple words, they are the more genuine and authentic to express and share. I’ve immersed myself in other classic song lyrics, something I hardly did before, just to appreciate the genius behind the simple words they were made of, and had a great time studying how powerful they were in expressing complex ideas such as love."

Recording was twofold: first, most of the backing tracks were recorded in 2001, in Wally's studio in Normandy, mostly using hardware synths and Yamaha digital consoles. Then, he fine-tuned the melodies and wrote the lyrics in late 2023, then added some overdubs and sang them all during summer 2024. States Wally, "Digital Performer was and remains the DAW I’ve been using throughout, ever since the 80s."

Wally's sophisticated synth textures and expressive keyboard runs are so full of character, so full of life, that this work of art transcends any easy genre categorisation. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland. Sometimes, the simple things are the most extraordinary.

Found Keys is the debut album by American artist Ruth Maine. Although Ruth has been playing and composing music for over two decades, this is the first time she decided to record some of her varied compositions and share them with the public. But in times when it is the norm to clamour for attention, she prefers to go the opposite way. Ruth likes to let her music speak for itself and stay in the shadows.

The 16 short piano pieces heard on this album, each about two to three minutes long, were recorded remotely and purely surrounded by nature. Once a composition was found and Ruth considered it mature, she only recorded it once, embracing the beauty of doing something for the first time with all its little imperfections. Found Keys sounds anything but imperfect though. These compositions feel timeless, intimate and comforting, as if they have been around for a long time, like an old friend. Gently played keys slowly evolve into minimal pieces through repetitive melodies. There’s stillness as much as there’s brightness, sadness as much as joy; welcome to a beautiful journey through Ruth’s world of wonder.

In many ways, Found Keys is a deeply personal record that takes Sonic Pieces back to its roots. And it leaves a feeling of nostalgia while reviving memories of the past.

Found Keys is the debut album by American artist Ruth Maine. Although Ruth has been playing and composing music for over two decades, this is the first time she decided to record some of her varied compositions and share them with the public. But in times when it is the norm to clamour for attention, she prefers to go the opposite way. Ruth likes to let her music speak for itself and stay in the shadows.

The 16 short piano pieces heard on this album, each about two to three minutes long, were recorded remotely and purely surrounded by nature. Once a composition was found and Ruth considered it mature, she only recorded it once, embracing the beauty of doing something for the first time with all its little imperfections. Found Keys sounds anything but imperfect though. These compositions feel timeless, intimate and comforting, as if they have been around for a long time, like an old friend. Gently played keys slowly evolve into minimal pieces through repetitive melodies. There’s stillness as much as there’s brightness, sadness as much as joy; welcome to a beautiful journey through Ruth’s world of wonder.

In many ways, Found Keys is a deeply personal record that takes Sonic Pieces back to its roots. And it leaves a feeling of nostalgia while reviving memories of the past.

Pink vinyl & sleeve 40th Anniversary Edition of the 1985 studio album, completely remixed and revamped - as it should have sounded. Expanded with two unreleased tracks left off the original album, plus a bonus album: six previously unheard outtakes and six live versions. Remixed by The Vibrators" Pat Collier (RIP), who has brought the guitar properly up in the mix - Johnny missed the original mixing sessions, now it can be heard as he originally intended. Gatefold sleeve notes by Thunders biographer Nina Antonia with interviews of participants, including Mike Monroe.

Das schwedische Punkrock-Urgestein SATOR veröffentlicht mit den High (Rock'n) Rollern und Punkrockern THE HEADLINES eine Split EP: Eine längst fällige Herzens- und Freundschaftsangelegenheit! Schließlich war es Sator-Bandgründer Chips Kiesbye, der vor mehr als 15 Jahren das musikalische Potential und die wilde, ungestüme Power von The Headlines erkannte. Es folgten Supportshows und bis heute produziert und supportet Chips die Band im Studio. Die jeweils zwei exklusiven Songs der Bands auf der limitierten 10inch Vinyl spannen dabei den Bogen von Hard Rock, Sleaze, Glam bis straight forward Punkrock. The Headlines kehren mit "Fucked up" zu der klassischen Rock-Essence zurück, rotzig-frech verpackt in 2 Minuten mit allem was es braucht, um eine "fuckin great hymn" zu schreiben! "True Grit" - der zweite Song" orientiert sich mit melodischen Punkrock an den US-Westcoast Style: "Remember what you're fighting for!" The Headlines liebten es schon immer Gedanken über das Leben, die jeder kennt in griffige Rocksongs zu verpacken. SATOR präsentieren mit "Thanks (For nothing for all) einen vor langer Zeit geschriebenen wütenden Dampfhammer, der als Demo in den Bandarchiven irgendwie in Vergessenheit geriet. Während der Aufnahmen zu "Return of The Barbie-Q-Killers" stoplerte die Band über dieses Juwel und wurde neu aufgenommen. "Wir können uns nicht wirklich erinnern, worüber wir beim Schreiben wütend waren, aber es gibt immer etwas, das einen nervt. Wut ist nie aus der Mode." "I only want a date" wurde ebenfalls im Rahmen der Studio-Sessions für das letzte Sator-Album aufgenommen und ist ein Coversong der US-Band "The Embarrassment", die den gesuchten Song 1984 nur auf Tape veröffentlichten. Die 10inch EP erscheint streng limitiert in klassisch schwarzen oder blauen oder in limitierten zweifarbigen Swirl Vinyl und dürfte sich schnell als Sammlerstück etablieren. Swedish Alternative Rock at its best!

Das schwedische Punkrock-Urgestein SATOR veröffentlicht mit den High (Rock'n) Rollern und Punkrockern THE HEADLINES eine Split EP: Eine längst fällige Herzens- und Freundschaftsangelegenheit! Schließlich war es Sator-Bandgründer Chips Kiesbye, der vor mehr als 15 Jahren das musikalische Potential und die wilde, ungestüme Power von The Headlines erkannte. Es folgten Supportshows und bis heute produziert und supportet Chips die Band im Studio. Die jeweils zwei exklusiven Songs der Bands auf der limitierten 10inch Vinyl spannen dabei den Bogen von Hard Rock, Sleaze, Glam bis straight forward Punkrock. The Headlines kehren mit "Fucked up" zu der klassischen Rock-Essence zurück, rotzig-frech verpackt in 2 Minuten mit allem was es braucht, um eine "fuckin great hymn" zu schreiben! "True Grit" - der zweite Song" orientiert sich mit melodischen Punkrock an den US-Westcoast Style: "Remember what you're fighting for!" The Headlines liebten es schon immer Gedanken über das Leben, die jeder kennt in griffige Rocksongs zu verpacken. SATOR präsentieren mit "Thanks (For nothing for all) einen vor langer Zeit geschriebenen wütenden Dampfhammer, der als Demo in den Bandarchiven irgendwie in Vergessenheit geriet. Während der Aufnahmen zu "Return of The Barbie-Q-Killers" stoplerte die Band über dieses Juwel und wurde neu aufgenommen. "Wir können uns nicht wirklich erinnern, worüber wir beim Schreiben wütend waren, aber es gibt immer etwas, das einen nervt. Wut ist nie aus der Mode." "I only want a date" wurde ebenfalls im Rahmen der Studio-Sessions für das letzte Sator-Album aufgenommen und ist ein Coversong der US-Band "The Embarrassment", die den gesuchten Song 1984 nur auf Tape veröffentlichten. Die 10inch EP erscheint streng limitiert in klassisch schwarzen oder blauen oder in limitierten zweifarbigen Swirl Vinyl und dürfte sich schnell als Sammlerstück etablieren. Swedish Alternative Rock at its best!

Das schwedische Punkrock-Urgestein SATOR veröffentlicht mit den High (Rock'n) Rollern und Punkrockern THE HEADLINES eine Split EP: Eine längst fällige Herzens- und Freundschaftsangelegenheit! Schließlich war es Sator-Bandgründer Chips Kiesbye, der vor mehr als 15 Jahren das musikalische Potential und die wilde, ungestüme Power von The Headlines erkannte. Es folgten Supportshows und bis heute produziert und supportet Chips die Band im Studio. Die jeweils zwei exklusiven Songs der Bands auf der limitierten 10inch Vinyl spannen dabei den Bogen von Hard Rock, Sleaze, Glam bis straight forward Punkrock. The Headlines kehren mit "Fucked up" zu der klassischen Rock-Essence zurück, rotzig-frech verpackt in 2 Minuten mit allem was es braucht, um eine "fuckin great hymn" zu schreiben! "True Grit" - der zweite Song" orientiert sich mit melodischen Punkrock an den US-Westcoast Style: "Remember what you're fighting for!" The Headlines liebten es schon immer Gedanken über das Leben, die jeder kennt in griffige Rocksongs zu verpacken. SATOR präsentieren mit "Thanks (For nothing for all) einen vor langer Zeit geschriebenen wütenden Dampfhammer, der als Demo in den Bandarchiven irgendwie in Vergessenheit geriet. Während der Aufnahmen zu "Return of The Barbie-Q-Killers" stoplerte die Band über dieses Juwel und wurde neu aufgenommen. "Wir können uns nicht wirklich erinnern, worüber wir beim Schreiben wütend waren, aber es gibt immer etwas, das einen nervt. Wut ist nie aus der Mode." "I only want a date" wurde ebenfalls im Rahmen der Studio-Sessions für das letzte Sator-Album aufgenommen und ist ein Coversong der US-Band "The Embarrassment", die den gesuchten Song 1984 nur auf Tape veröffentlichten. Die 10inch EP erscheint streng limitiert in klassisch schwarzen oder blauen oder in limitierten zweifarbigen Swirl Vinyl und dürfte sich schnell als Sammlerstück etablieren. Swedish Alternative Rock at its best!

"Hasabe" is a thoughtfully curated collection of Ethio-groove recordings from one of the overlooked pioneers of 1970s Addis Ababa's vibrant music scene-Ayalew Mesfin and his Black Lion Band. Expect trap drum kits, jazz big-band styled horn sections, funky guitars played through wah wah and fuzz pedals- all seasoned with a unique Ethiopian touch_ For many, the music created in 1970s Ethiopia will sound both familiar and alien: while the trappings of '70s Ethiopian music carry some aspects that those in the West will easily identify with-trap drum kits, jazz big-band styled horn sections, guitars played through wah wah and fuzz pedals-the Ethiopian style of singing, and the modes in which the musicians move, may confound. Perhaps some who have delved into the instrumental Ethio-Jazz of Mulatu Astatke-a well-known Ethiopian musical export, relatively unknown in his homeland-will have a context in which to engage this great compilation of '70s Ethiopian music by Ayalew Mesfin. The music Mesfin created with his Black Lion Band is amongst the funkiest to arise from Addis Ababa; his recording career, captured in nearly two dozen 7" singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia's 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of the unconquerable East African nation. Ayalew was forced underground by the Derg regime that took control of the country in 1974. Until recently, only four of Ayalew Mesfin's tracks had been reissued, appearing in the well-known "Éthiopiques" series. "Hasabe", a carefully curated collection of his singles, marks the first comprehensive release of this powerful and long-overlooked body of work by an artist whose originality and resistance defined a genre: Ethio-groove. More than four decades later, this album offers the rare opportunity to rediscover a vital and beautiful chapter in global music history. We are now reissuing "Hasabe" once again thanks to a collaboration with Now Again. Pressed on 180g vinyl.

2024 Reissue

“Tubby did three original dub albums, ‘Dub From The Roots’. ‘The Roots of Dub’ and the third is ‘Brass Rockers’ with Tommy McCook ‘pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named ‘Shalom Dub’ you can call Tubby’s too because he mixed the versions as they were off forty fives’’
Bunny ‘Striker‘ Lee

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ ( more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a home made mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke.It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD Editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

Limited edition PLUTONIUM vinyl 1000 copies worldwide. Remastered by Bob Weston at Chicago Mastering Service. Originally released in 1986 vinyl reissue includes 2 bonus tracks. "This is a bit different than previous records in that there's only a couple of songs with their distinctive bass licks and chunky melodies. So instead of bordering on redundancy, they prove their diversity by being more melodic, rockin', and even pop. This LP is more challenging than before and really great." - MaximumRockNRoll, April 1986 - // Naked Raygun were an extraordinary staple in the Chicago music scene - beginning in the early 80's and continuing until their quiet demise in the early 90's. Their music showed the world that punk rockers could play and be really good at it. Founded in Chicago in 1980, by Marco Pezzati, Jeff Pezzati and Santiago Durango, Naked Raygun released six albums during their eleven year career that would change the sound of punk rock indefinitely. The band is widely recognized as being one of the most influential punk bands of the 80's. Their anthemic style incorporated politics in a uniquely accessible way, melding pop and hardcore into one cohesive sound, that would later be dubbed, "The Chicago Sound". Shortly after their first release, Basement Screams, Durango left to join Big Black permanently, and was replaced by John Haggerty, whose unique style of buzzsaw guitar would define Raygun's sound for their next four albums. Additionally, Pierre Kezdy replaced Camilo Gonzalez and Eric Spicer took over drums for Jim Colao. In 1990, Haggerty left the band to start Pegboy. Bill Stephens joined the band for their final studio release entitled, Raygun...Naked Raygun.

Limited edition GREEN SWIRL vinyl, 1000 copies worldwide. Remastered by Bob Weston at Chicago Mastering Service. Originally released in 1985 vinyl reissue includes bonus track. "This band consistently defies categories. More than hardcore. More than rock. More than experimental. And this LP blazes out with a fury that's sharp, clean, and loud as fuck. The sound on this release is more concise and focused than earlier stuff but doesn't sacrifice any of their drive. Possibly one of America's most important bands." - MaximumRockNRoll, March 1985 - // Naked Raygun were an extraordinary staple in the Chicago music scene - beginning in the early 80's and continuing until their quiet demise in the early 90's. Their music showed the world that punk rockers could play and be really good at it. Founded in Chicago in 1980, by Marco Pezzati, Jeff Pezzati and Santiago Durango, Naked Raygun released six albums during their eleven year career that would change the sound of punk rock indefinitely. The band is widely recognized as being one of the most influential punk bands of the 80's. Their anthemic style incorporated politics in a uniquely accessible way, melding pop and hardcore into one cohesive sound, that would later be dubbed, "The Chicago Sound". Shortly after their first release, Basement Screams, Durango left to join Big Black permanently, and was replaced by John Haggerty, whose unique style of buzzsaw guitar would define Raygun's sound for their next four albums. Additionally, Pierre Kezdy replaced Camilo Gonzalez and Eric Spicer took over drums for Jim Colao. In 1990, Haggerty left the band to start Pegboy. Bill Stephens joined the band for their final studio release entitled, Raygun...Naked Raygun.

Local Action is proud to present Daughters, the debut album by Jennifer Walton.

Walton is a beloved figure across various sectors of the alternative music underground. Outside of her own music and soundtrack work, she has been a live drummer for Kero Kero Bonito, collaborates with Sarah Midori Perry on the pair’s Cryalot project, has remixed Metronomy and worked with Iceboy Violet, BABii and more. She also makes music and DJs with close friends aya and 96 Back under the name Microplastics, and recently contributed to London collective caroline’s acclaimed caroline 2 album.

The first seeds of Walton’s debut album were sowed during touring North America in 2018, where whilst ticking off life-long music goals, Walton’s father was dying of cancer. Grief is a constant presence throughout Daughters, and specifically the surreal nature of having to process it amongst a blur of airports, flight connections, hotel rooms and battles for stolen medication with the American healthcare system. Strip malls, drug deals, panic attacks; the artificiality of downtown American city districts dovetailing with reality in its most brutal form. Miss America for a day while life is changed forever.

Weaving between real life diary entries, travelogue-style storytelling, imagery that ranges from mechanical to religious and a scattering of fiction (though we are obliged to mention that ‘Shelly’ is based on a true story), Daughters climaxes with the staggering run of ‘Saints’, ‘Miss America’ and its title track. Sampling unattended machines harmonising bleeps into the void in a London hospital ward, ‘Saints’ narrates Walton taking her father to and from cancer research trials, “sat, hunched and sick in the concourse as minutes became hours”. And to be very real for a moment, Jen is a friend, and first hearing the ‘Miss America’ demo is up there with the most emotional moments we’ve had in 15 years of running this record label.

Finished in London across the second half of 2024, Daughters features musical contributions from some of the closest friends and collaborators that Walton has made in her time as a musician: aya (who also mixed the album), Daniel S. Evans, Joshua Barfood and Nick Granata (all of Shovel Dance), Alex McKenzie (of caroline and Shovel Dance), Aga Ujma and Bob Lockwood.

DJ Support: Luke Una, Justin Robertson, Trevor Fung, Leo Elstob, Bill Brewster , Sean Johnston, Duncan Gray, Nathan Gregory Wilkins and DJ mag Balearic album of the month.

Limited edition double vinyl release of Jezebell’s debut new-Balearic epic, which stylishly weaves the history of eclectic club bombs through 16 tracks of downtempo, electro dub, and acid chug.

After the huge, and now sold out, never to be repressed debut album release, Jezebell come again with their second instalment, delivering their trademark Balearic and chuggy, electro-tinged dancefloor bizness in the form of Jezebellearic Beats Volume 2. You get the vibe of the artwork, the Jez crew have the class. These won’t be around for long. One press only. Buy or Cry.

Among the most revered voices in funk, Marva Whitney holds a special place thanks to her fierce energy and unmistakable style on tracks like the classic 'Unwind Yourself,' a long-time favorite for DJs and dance floors alike. Emerging from the dynamic world of the James Brown Revue in the late 1960s--alongside iconic names like Lyn Collins and Vicki Anderson--Marva quickly carved out a name for herself. In 1969, she began recording as a solo artist under James Brown's King label, scoring a Top 20 R&B hit with 'It's My Thing.' While mainstream hits were few, her music resonated deeply with funk lovers and crate diggers around the world. Songs like 'You Got to Have a Job' and the endlessly sampled 'Unwind Yourself' have only grown in stature over the decades. Her album, "It's My Thing", dropped that same year and has since become a touchstone of the genre. Backed by the legendary JB's and produced by James Brown himself--who also contributed to most of the songwriting--the album captures a raw, unapologetic funk sound with a distinctly female voice at the forefront. From the explosive opening of 'It's My Thing'--a bold response to the Isley Brothers' 'It's Your Thing'--Marva channels sheer intensity, backed by a band that doesn't let up. The pace briefly softens with 'If You Love Me,' a soul soaked ballad in the spirit of Otis Redding, before diving back into the rhythmic grit of tracks like 'Unwind Yourself.' Decades later, "It's My Thing" continues to inspire, sampled by producers and treasured by collectors--a powerful snapshot of funk at its most uncompromising. Reissue on 180g vinyl.

Devianza, leading artist and owner of the label, returns to production by launching a new series of single-sided vinyl releases, each featuring only two tracks. The first instalment is a sonic catharsis rising from the very depths of a generous land, abundant with new seeds ready to sprout.

‘Le Piante di Elena’ is a dreamlike homage to a primordial world — untouched, pure, and still fertile. A tribute to a newborn bearer of the most radical values of a necessary humanism: a call to return to nature in its most spiritual and purest form. Devianza appears to be evolving into a higher, more spiritual dimension, where spirituality itself becomes the guiding force behind his musical production.

The single side opens with ‘Betullae’, a hypnotic ride between deep and leftfield, characteristic of Devianza’s sound, but this time enriched with an Indian tonal and modal flavour. Forest landscapes are traced by piano motifs that evoke interstellar journeys among endless birch trees.

‘Sunflower Sunset’ continues the hypnotic drift with a melodic crescendo that conjures the image of a sunflower field bathed in the warm glow of a summer sunset without wind. Here, where everything stands still yet everything is, this eight-minute piece becomes proof of the rarefaction of time — an instant that, though fleeting, feels infinite.

For fans of: Donato Dozzy, Voices From The Lake, Luigi Tozzi, Claudio PRC.
Related labels: Spazio Disponibile, Hypnus, Semantica, Silent Season.

LIMITED 500 ONLY (WORLDWIDE) FIRST PRESS ON CRYSTAL CLEAR VINYL WITH GREEN SMOKE SWIRLS. HOUSED IN GLOSS FINISHED FULL COLOUR SLEEVE WITH POLYLINED INNER BAG. NON-RETURNABLE.
Japanese psych rockers Hibushibire return with album number four ‘Flashback Stonehenge’ and a UK/European tour to coincide.
‘Flashback Stonehenge’ is the bands first studio album as a four piece, with live guest Kohei Katsuma now joining as a full time member on percussion/congas (an absolute must see live) alongside Changchang (Guitar/Vocal), Tetsuji Toyoda (Bass/Vocal) and Aoi Hama (Drums/Vocals).
Like the band's previous three albums, this one continues with the three shorter songs on side one, and one epic long song filling out side two mantra that has served them so well thus far.
Opening track ‘Snow Sniffing Matador’ is already a firm live favourite, with it’s heavy riffage and 70’s rock swagger. Things then cool down with a more laid back ‘In Heaven’, featuring Aoi Hama’s dreamlike vocal whispers, and a fuzzed out take on traditional English folk song ‘The Cuckoo’ with Changchang & Aoi trading verses.
Flip it over, and you have the epic title track, which sees the band take a slightly different approach recalling the likes of Steve Reich, Terry Riley, Faust, CAN, Eno etc over its extraordinary 22 minutes.
The band return for their fourth UK tour in October, and also play their first mainland European dates to coincide.

Yazmin Lacey returns with Teal Dreams - her soulful, fearless second album, rich with real-life storytelling and sonic flair.

Following the breakout success of her debut album Voice Notes, praised by Billboard, Fader and Pitchfork (who likened her to Erykah Badu and Lauryn Hill), Yazmin’s star continues to rise. Last year saw her headline London’s Village Underground and KOKO, as well as perform with Ezra Collective on Strictly Come Dancing and Radio 1’s Live Lounge, the unforgettable voice behind firm festival favourite “God Gave Me Feet for Dancing.”

With Teal Dreams, she builds on her signature sound blending soul, ska, lover’s rock and indie into a vivid, emotionally sharp record shaped by real life, late-night reflections, and a last-minute trip to Thailand.

Collaborating with some of the best in class Miles James (Lotus), Barney Lister, Matt Maltese and more, Yazmin has expanded and elevated her sound on this album. Teal Dreams is a bold, honest evolution, and proof that Yazmin Lacey is only just getting started.



Classic and timeless, the Teal Dreams 12” black vinyl LP comes housed in a beautifully designed sleeve with a foldout lyric booklet. Artwork shot by Wukda brings the album’s mood to life with bold, striking design from Lauren Harewood.

Teal Dreams eco-friendly digipack CD, featuring an 8-page lyric booklet. Elegant photography by Wukda and striking design by Lauren Harewood complete this elevated package.

Hailing from the northern city of Oulu and featuring members of esteemed Finnish outfits such as Haapoja, Dart, and Renate/Cordate, TRYPANON have steadily emerged as one of the most compelling and unorthodox underground acts in recent memory. Their 2021 debut "Amentia" earned widespread acclaim for its suffocating intensity and bleak atmospheres, establishing the band as a vital force in the realms of extreme music. With "Through the Portal of Flesh to Achieve Divinity", TRYPANON push their vision even further into the void. The album is a nightmarish fusion of down-tuned sludge, chaotic death metal, and dissonant black metal, woven together with progressive flourishes and hypnotic melodic fragments. The result is a deeply immersive and punishing listening experience that recalls the extremity of bands like Lord Mantis, Coffinworm and Cobalt, while retaining a sonic and conceptual identity entirely its own. Where "Amentia" was a descent into psychological collapse, "Through the Portal..." drags the listener through a ritualistic transformation - an existential death trip that explores themes of corporeal transcendence, spiritual ruin and ecstatic suffering. The record was conceived not only as an artistic evolution, but as an act of purification through sound: hostile, enveloping and uncompromising. This release marks a significant step forward for TRYPANON, both in scope and execution. Expect a record steeped in raw emotion and relentless aggression, but also rich in nuance and disturbing beauty.

To mark the 20th anniversary of his cult classic debut album We Have Sound, multi-instrumentalist and creative iconoclast Tom Vek releases We Have Sound Remixed today via StrataSonic Records — a 10-track remix album in its original order that reimagines the influential original for a new era.

Led by remix singles from Dave Glass Animals, Everything Everything, and IS TROPICAL, the project is complete with a stacked lineup whose own sonic identities trace back to Vek’s genre-hopping, DIY spirit — including alt-J, Baths, Porij, and more.

We Have Sound is widely credited as one of the seminal albums that pioneered indie electronic music. Dave Bayley of Glass Animals calls the album “one of several responsible for us going on to make our music.” Gus Unger-Hamilton of alt-J adds, “I’ve loved this album since I was fifteen. Paul Epworth’s ‘Phones’ version opened my eyes to the art of the remix.”

We Have Sound Remixed, is a rare kind of tribute, curated by Vek himself, with each artist handpicked and invited to reinterpret the record that helped shape their creative DNA. The result is a celebration of We Have Sound not only as a pivotal album of the 2000s, but as a blueprint for the fusion of guitar music, DIY electronica, and sharp-edged pop that now defines a generation of UK and alternative acts. The project cements Tom Vek’s role as a cult figure whose music remains current — and deeply influential — two decades on.

Three lesbian sardines! Shouted by a heckler at a performance by the Dadaist Hugo Ball on stage at the Cabaret Voltaire. Is a perfect title for Nurse With Wound's final appearance at the `Great Monster Dada Show' at the legendary Henie Onstad Kunstsenter in Oslo, 2019. The largest exhibit of dada art and artefacts this century, over 250 artworks by 43 artists including Kurt Schwitters, Jean and Sophie Teuber Arp, Hannah Hoch, John Heartfelt, Tristan Tzara, Max Ernst, Francis Picabia, Raoul Hausmann, Marcel Duchamp, Man Ray. This electric performance captures the band at their most eclectic and playful. Here six tracks feature the classic line up of Steven Stapleton, Andrew Liles and Colin Potter including the toe tapping crowd pleaser `Flea Circus' - a mutant hybrid of Kraftwerk and Aphex Twin and is amongst the best the band have ever recorded. `Broken America' is timely reminder of the dire situation we are all facing with the arrival of Trump's America. The cover features stunning new artwork by acclaimed artist Babs Santini. 500 copies only in NEON GREEN VINYL.

SDK is the collaboration between Stano and David Kitt. Stano, a post-punk pioneer from Dublin, is known for his strikingly individual work. A recurring collaborator with All City, Going Back to the Unknown marks his first new material for the label and his return to vocal work after many years.

The project began after a chance meeting at All City led to a connection with David Kitt. In Kitt’s studio, guitars, pedals, tape delay, and synths combined to form dense, dreamlike textures. The music moves between ambient atmospheres, layered guitars, and fractured song forms. Stano’s words appear only where the music calls for them:

“I just turned the pages until the right lyric appeared — I like when the music dictates what the words should be.”

On the collaborative process, Stano adds:

“There wasn’t a conscious decision, it was just a reaction to what David was playing. It seemed to happen organically, we were really on the same wavelength. At the end of that day I knew we had something really interesting.”

The result is Going Back to the Unknown, a collection shaped as much by intuition and chance as by design. The album is completed by Kitt’s contribution “Fireworks,” which seals the record’s arc.

Ben Pest and ARA-U unite for the next release on No Static / Automatic. Kaos Sympatic EP started life with the pair recording jams of various vintage studio kit, including an EMS VCS3, Roland VP330 and an Orgon Systems prototype known only as the “Silver Box”, which developed into full tracks over subsequent sessions. Ben Pest has been busy releasing high grade club tracks including collabs with Radioactive Man and Kursa for Asking For Trouble and Love Love Records last year, and with solo EPs dropping on Cultivated Electronics and Posh End music. Here he links with NS/A boss ARA-U, turning out some of their headiest material to date.

The EP kicks off with ‘Err Hello’, it’s wholly discordant, lairy, and unapologetically weird. ‘‘Get A Grip’ drifts in with hallucinatory wafts of sound over a warped riff, building into a granular, distorted headfuck of a hoover-bass moment. This one will make the subs rattle on the right side of distortion. On the B Side title track ‘Kaos Sympatic’ gets stuck in with a big broken beat and guttural sub that transforms into a techno drop to drive this track home. Finishing up, ‘Slapback’ serves up a cut of high energy electro funk, coming off like classic ERP on heat. Limited edition purple vinyl.