Search:p!off

The Room will be Ricky Reed’s first artist album since becoming a house-hold-name producer, and launching his own label with Nice Life Recording Company. The project features Leon Bridges, Jim James of My Morning Jacket, Dirty Projectors, Terrace Martin, Duendita, Ayoni, Lido Pimienta, St. Panther & John-Robert and more. The Room is a title that came to him in the wake of the death of George Floyd and the galvanizing of the Black Lives Matter movement across America and the world. He wanted to create a communal place where it’s as necessary to cry as it is to rejuvenate; where it’s as vital to be angry as it is to find joy. The music is an invitation to share experiences, commiserate, rejuvenate, and offer hope. It is upbeat in places, meditative always, and has real soul to it. Ultimately, Reed feels fundamentally changed by quarantine, particularly with his process of creating. All the songs were written via text and voice memos. The Room feels like an offering to the world at a time when Reed was back in the process again. Back at a new start. “When this comes out, whether it is well or not, the only thing that matters is that I made it.”

Multinational industrial black metal rising force Decoherence join Sentient Ruin again to bring you "System I", a 12" vinyl, digital and cassette tape full-length album/compilation of all the band's recent digital only singles and EPs, remastered to their final and ultimate form along with a glorious and previously unreleased cover rendition of Killing Joke's classic cut "The Wait". While these tracks were previously already digitally (self)released, don't be fooled or misled to think you're hearing any "b-sides" or otherwise "left over" material, rather, consider "System I" not only the righteous third official full-length album from the band, but also by far Decoherence's most visionary, cohesive, and imposing songs to date. Awe-inducing and ghastly in its enveloping immensity, the tracks on "System I" see the enigmatic multinational black metal band morph into their most defiant and commanding form yet, as they construct an impenetrable mechanized swarm of liquefying industrial hallucinations and swirling dissonance that eradicates the listener from their corporeal and terrestrial self to cast them at the edge of a light-devouring void. Stylistically "System I" sees Decoherence's sound still thrive and evolve within the familiar synthetic black metal deconstructionist framework of progenitors like Blut Aus Nord and Darkspace, but as the Killing Joke cover included unmistakably hints at, these tracks also reveal a marked shift for the band toward a more unintelligible, unpredictable, and ominous immateriality, as elements incorporated from post-punk and experimental industrial assume stronger delineations adding ulterior dimensions and identities to the band's already alien and otherworldly sound.

Slaughter in the Vatican is the debut studio album by American heavy metal band Exhorder. It was released on October 23, 1990 through Roadrunner Records. The album received favourable reviews, and saw the band being compared to heavy metal legends Pantera. AllMusic noted Exhorder’s “death metal-style double kick drums, chugging guitar riffs played at both slow and blistering tempos, and, to top it all off, the gruff but very expressive lead vocals of frontman Kyle Thomas”. The album was inducted into the Decibel Magazine Hall of Fame in 2018.

The full-length debut from Bendigo Fletcher, Fits of Laughter is a collection of moments both enchanted and mundane, sorrowful and ecstatic: basking in the beauty of a glorious lightning storm, waking with a strand of your beloved’s hair happily caught in your mouth, drinking malt liquor while bingeing “The X-Files” on a lonesome Saturday night. As lead songwriter for the Louisville, KY-based band, frontman Ryan Anderson crafts the patchwork poetry of his lyrics by serenely observing the world around him, often while working his grocery-store day job or walking aimlessly in nature (a practice partly borrowed from the late poet Mary Oliver). When matched with Bendigo Fletcher’s gorgeously jangly collision of country and folk-rock and dreamy psychedelia, the result is a batch of story-songs graced with so much raw humanity, wildly offbeat humor, and a transcendent sense of wonder.

True to its spirit of purposeful wandering, Fits of Laughter unfolds in a wayward yet lushly detailed sound, embroidered with everything from crystalline harmonies to blistering guitar riffs to heady drum-machine beats. For help in forging the album’s ragged elegance, Bendigo Fletcher worked with producer Ken Coomer (the original drummer for Wilco and Uncle Tupelo), whom Anderson met in a flash of strange serendipity. Soon after he’d connected with Coomer via phone and bonded over a shared affection for Pink Floyd’s Obscured by Clouds, the band headed to Nashville to record in Coomer’s garage studio, laying down the album’s eight songs in nine frenetic days.

In keeping with the regional perspective that defines much of folk and country music, Fits of Laughter ponders certain paradoxes inherent in the band’s homeland. “In Kentucky there’s a long-running frustration of tradition and stubbornness versus progress,” says Anderson. “On one side you’re looking at things like the coal industry or Mitch McConnell, but then there’s also a feeling of togetherness and a fuck-the-man attitude and a loving desire for everyone to be left alone.” Referring to Fits of Laughter as a coming-of-age album, Anderson also examines a more internal conflict throughout the songs, including his choice to abandon his medical-school aspirations in favor of pursuing a career in music. “The title’s really about the spectrum of emotions I’ve felt on the way to finding what makes me feel like I’m living truthfully, rather than holding onto what I think other people’s expectations are of me,” he says. “It’s a phrase that bridges all of those emotions—everything from joy to hysteria.”

An already distinguished and highly successful career officially opens a new chapter with the August 13 release of the new album My Name Is Suzie Ungerleider.

Bursting with her trademark evocative melodies and trenchant lyrics, it's the eighth solo studio album by the American-Canadian artist revered for such landmark records as Johnstown and Sleepy Little Sailor.

It's also her first since the artist formerly known as Oh Susanna announced that she would now record and perform under her birth name.

LTD. BLUE SEAGLASS WAVE TRANSLUCENT VINYL

Last spring, Devendra Banhart and Noah Georgeson started to make a record that was like nothing they had made before _ an ambient album that would be both a haven from a suddenly terrified world and a heartfelt musical dialogue between two artists who have been friends and collaborators for over two decades. Refuge is an album of profound meditative beauty which offers the listener a much-needed sense of peace and renewal. But while it was recorded in 2020 its roots go back much further _ all the way to the start of their friendship and, beyond that, to the shared sounds and ethics of their childhoods. Devendra grew up in Venezuela while Noah, six years older, is a native of Nevada City, California. But as they got to know each other, they realised that they had a similar history in the New Age subculture of the 1980s: a world of meditation, Eastern music, the Bhagavad Gita and The Whole Earth Catalog. Childhood memories were coloured by the aromas of health food stores and the sound of New Age labels like Windham Hill Records. Noah, whose production and mixing credits include Joanna Newsom and the Strokes, came on board as co-producer of Devendra's 2005 album Cripple Crow and they have been working together ever since. It was while making Devendra's 2019 album Ma that the pair finally decided to make their ambient record. Despite complicating logistics, 2020 created an emotional craving for music with this contemplative, therapeutic quality. Inspired by both memories of the past and the needs of the present, Refuge is an act of companionship and generosity which gives the listener room to breathe. "We're hoping to create a sense of comfort and coming back to the moment," Devendra says. "It's really important to have a little bit of space between us and our anxieties and impulses. What you do with that space is up to you." Dorian Lynskey May 2021

BBE Music is thrilled to announce the release of Modern Love, a diverse compendium of specially commissioned cover versions of rarities and classics in tribute to David Bowie. Featuring an array of artists such as Jeff Parker, We Are KING, Meshell Ndegeocello, Helado Negro, Khruangbin, Matthew Tavares, Nia and more, Modern Love seeks to champion Bowie’s lesser-known connection to soul, R&B, jazz, funk, and gospel. The prominent jazz influences throughout Bowie’s final album, Blackstar, were a key inspiration for curating this collection of reimagined Bowie songs with these artists. The resulting album is an eclectic tribute featuring a group of artists who not only fit together creatively, but who, like Bowie, straddle different worlds musically, with soul and jazz at their core. Modern Love offers a fresh look at Bowie's trailblazing career, aiming to highlight the often overlooked relationship between his back catalogue and musical genres traditionally pioneered by artists of color. The project was curated by music executive and DJ Drew McFadden, alongside BBE Music founder Peter Adarkwah. "I felt that the connection between Bowie and R&B, jazz, funk, gospel and all things soulful, had never really been explored before — at least not so much in covers, which tend to lean more towards rock and pop,” says McFadden. “Certainly, there's been plenty of Bowie covers over the years, but none that have really tapped into what seems to have been a big part of his core musical style and direction

Mondo is proud to present the premiere physical release of the soundtrack to the MSX2 version of the classic game that started it all: METAL GEAR.

The Metal Gear series began in 1987 in Japan, and while it took decades for this original MSX2 version to make its official debut in the United States (the Ultra Games NES version is disavowed by series creator Hideo Kojima) it is considered one of the essential games to come out of the 80's. While not the first to implement Stealth mechanics in gaming, METAL GEAR certainly popularized the genre, and served as the launch pad for a decades spanning franchise of games considered some of the greatest of all time.

"On August 13th, the first-ever vinyl reissue of UK top 5 album 12 Memories from Travis continues the reissue streak from the Scottish rock band. Cut at London’s Metropolis Studios & features all original packaging replication including photography by Anton Corbijn. As well as the standard black vinyl, a limited white vinyl edition will be available exclusively at Travis’ official store & Independent record shops.
None other than Sir Elton John raved that 12 Memories would “take you on a real journey… like The Beatles’ Revolver”. And, just like The Beatles in 1966, Travis were at a critical juncture when it came to recording their fourth album & the follow up to the multi-Platinum international breakthrough The Invisible Band. 12 Memories is the third vinyl reissue from Travis so far in 2021, it follows 2007’s The Boy With No Name vinyl re-release May 28th & the first ever vinyl reissue for debut album, Good Feeling released April 2nd via Craft Recordings. "

The Debut Album From The Helicopter Of The Holy Ghost - Mark Morriss
( The Bluetones ) Billy Reeves ( theaudience ) Crayola Lectern ( Lost
Horizons / Departure Lounge ) Mark Peters ( Engineers ) Co-produced by
Richard Archer of Hard-Fi Feat. Simon Raymonde ( The Cocteau Twins ) &
Thomas Anderson ( Gazpacho )
In 2001 Billy Reeves, fresh from introducing the world to Sophie Ellis-Bextor
(via their band theaudience) was smashed to bits by joyriders whilst in his Morris Minor - resulting in a two-week coma and a year in and out of hospital. In
2017 his brother gave him two mini-discs that had been saved from the wreckage, including demos of songs he had forgotten - due to crash-related amnesia.
Mark Morriss of chart-topping Hounslow janglers The Bluetones agreed to sing
them, so with the assistance of Richard Archer (Hard-Fi), along with Crayola
Lectern (Zofff / Departure Lounge), and Mark Peters (Engineers), these songs
would form the debut long player from The Helicopter of The Holy Ghost.
The original concept for the material was probably while Billy was signed to
Sony, which pointed toward a more commercial sound, however Crayola Lectern’s involvement on piano help send the recordings into a more ‘Canterbury’
direction, taking influence from Caravan, Robert Wyatt & the like.
Featuring a groovy guest line-up including Simon Raymonde of Cocteau Twins,
Dale Davis from Amy Winehouse’s band, Andy Lewis from Paul Weller’s group,
Smiley from Joe Strummer’s Mescalaros and Thomas Anderson of fellow Kscope
signees Gazpacho, the wide-ranging influence herein is evident throughout a
very sweet, gentle, calming album of originality and versatility.
The Vinyl LP edition of this album will be especially printed in an eco-friendly
manner, with no shrinkwrap being used, the record itself pressed on 100% recycled records and the board made up of FSC certified climate-friendly recycled
material. The whole package itself will be Climate neutral, having all its carbon
offset with ClimatePartner.

Since its inception in 2019, Beartrax’s Melodize imprint has consistently pushed deep, musical house and techno with contributions from John Tejada, Fort Romeau, Carl Finlow, and many more standing alongside Beartrax’s original productions throughout the label’s back catalogue.

Leading the sixth release, ‘Phantom Night’ sees haunted atmospherics nestled amongst ethereal synth licks, before a cinematic violin takes centre stage. Johannes Albert’s remix peppers elements of the original with slick acid lines and punchy drums, re-imagining the dramatic violin for a fresh and highly entertaining take.

On the flip, the uplifting ‘Valor’ runs through a series of modulating basslines, glistening pads, and sizzling drums, topped off with a majestic cello performance throughout.

Rounding out the release, Lauer adds rubbery low end, floating keys, and hands-in-the air piano stabs to ‘Valor’ for a high-energy end to another stellar EP from Melodize.

Glenn Astro returns to Tartelet Records with Purple, a four-tracker of minimal slow burners and futuristic dance music, marking the label’s 50th 12-inch release.

Since releasing his second album Homespun in late 2020, Glenn Astro has been quietly channeling his funky instincts towards new production approaches. Purple, a four-piece compilation of mutant future-boogie daubed in Rogers-Nelson hues, comes through with emotional heft. It also marks the 50th 12" release for Tartelet Records.

“Following up on Homespun, I wanted to try out some more dancefloor- oriented tracks again,” says Glenn Astro. “Keeping it simple and practical, while not being too predictable. I incorporated a lot of modular synth bits and experiments, with ‘Flux’ being an almost exclusively modular-based jam.”

Incorporating tricky sound design and fluid structures, Astro’s new lines of enquiry never come at the expense of the groove. From the opening thump of ‘Penduloop’ onwards it’s apparent that his rugged rhythmic kinks are present and correct to hook in the dancers, while the melodic drops later in the track edge in a little melancholic flavour to take the mind somewhere else entirely. On this opening track, the artist explores new territory with his version of early naughties minimal house – a welcome
slow burner.

The EP title track ‘Purple’ slaps with purpose, not least in the Linn-esque drums and melodic bassline, but it’s a positively dreamy piece which skips on crooked beat formations and floats upwards via a multi-timbral tapestry of yearning synth shapes and robotic vocals. On ‘Out Of Office’ Glenn Astro provides a generous dose of electro nostalgia when he amps up the heavy-hearted feeling with aching string pads and electro-informed machine logic. The track becomes alive with its deep un-synced rhythms and dark bass notes, pushing further into the abyss. ‘Flux’, with its tooly
feel, takes the electronic mantra further and sheds light on the source of much of Astro’s new sound palette.

Crucially, even in its techiest moments, an irrepressible humanity shines through across Purple. Glenn Astro’s soul is the binding agent which links his early, sample-heavy house to his more explorative new angles, and it comes through in abundance on this fully-formed release.

Super Rhythm Trax's sister label Bleeper welcomes Snuff Crew for 3 tough cuts of jacking Techno fit for dark warehouses with smoke and strobes. Off kilter gurn-drones and the wonderfully suggestive 'Where's the Bad' sample take over the A side while the ear-worm strings and bounce of 'Naughty' meet the pacey yet tongue in cheek 'Warehouse Boy' on the flip.

"Medieval Femme", Fatima Al Qadiris neue zehn Stücke umfassende Suite, die von den klassischen Gedichten arabischer Frauen inspiriert ist, beschwört durch die Metapher eines islamischen Gartens einen Tagtraum herauf, an der Grenze zwischen Depression und Sehnsucht, wo sich die Gegenwart vorübergehend auflöst und nur Vergangenheit und Zukunft übrig bleiben. Mit einer Mischung aus Neon-Drones und den schwachen Umrissen einer arabesken Melodie offenbart "Medieval Femme" eine vollendete, traumhafte Szenerie, schattiert mit Farben und subtilen Reibungen. Fatima versucht, den Hörer in einen Zustand melancholischer Sehnsucht zu versetzen und ihn an einen Ort der Träumerei und Trostlosigkeit zu entführen, um die Grenze zwischen zwei scheinbar gegensätzlichen Zuständen zu hinterfragen und sich an himmlischer Trauer zu erfreuen. "Medieval Femme" verwendet Instrumente aus der Musik des Mittelalters, die in einer futuristischen Umgebung neu arrangiert wurden; sanfte Synthesizer-Laute, Orgeln und Pfeifen hallen im Raum, während hauchdünne Pulse als Antwort kräuseln. Fatimas Gesang aus wiederholten, mantraähnlichen Phrasen wird manchmal gepitcht und verändert, um immer intensivere Spitzen, engelsgleiche Refrains und sehnsüchtige Beschwörungen hervorzubringen. Bei "Tasakuba", Kaltham Jassims Rezitation eines Verspaares des Dichters Al-Khansa aus dem 7. Jahrhundert, erhält die Trauer ihrer Worte einen turbulenten, halluzinatorischen Rahmen, bevor sich das Album im letzten Song, dem klaren, luftigen "Zandaq", auflöst.

DNA Records is proud to present a Cambodian reggae 7” release to showcase some of the talent from this wonderful country and the power that Jamaican music has around the globe.

DUB ADDICTION - Founded in the tropical heat of Cambodia's capital Phnom Penh in 2011 by Sebastien Adnot and Jan Mueller (AKA Professor Kinski), Dub Addiction features a combination of
Cambodian, French, German and Nigerian members. They quickly captured the hearts of local Cambodians and Western expats in a beat.

Cambodian national and vocalist, toaster DJ Khla, is a political activist and is now living in exile in Europe after having fled his country because of military pressure on him and his family. He was able
to escape Cambodia while on tour with Dub Addiction in Denmark.
Their fusion of reggae combined with traditional Cambodian instruments like tro (violin), chapey (traditional Cambodian string instrument) and Roneat (xylophone), along with the toasting of
Cambodian vocalists DJ Khla (Nhem Palla), MC Curly (Kosal Dang) and a variety of traditional female vocalists and international MCs creates a very unique blend.

After all, though South-East Asia and The Caribbean might be far apart on the map, they both get light from one sun.
VIBRATONE - Also a multinational reggae band with members from Cambodia, France, The Philippines, and Brazil, Vibratone formed in Phnom Penh in 2013 with one aim: No cover songs, strictly original creations. With insightful lyrics, they embracing true roots to new roots reggae…with a touch of blues and soul thrown inna di mix! Text edited by Brian Offenther.

Cutting his teeth on New Orleans session work while still a teen in the 1950s, pianist and singer Dr. John (born Mac Rebennack) emerged in the late 1960s with GRIS-GRIS, a blend of snaky rhythms, Crescent City funk, and swampland voodoo flair. Since then, he has remained one of New Orleans’s prime musical ambassadors, an artist with his own trademark sound and style. These sessions actually have a feeling not unlike his early-'70s work. Most of the titles are self-penned, and there are also a few Professor Longhair covers. If you like vintage Dr. John, this is almost mandatory.

Jerry wrote and/or co-wrote 21 songs that Ricky recorded from 1961 to 1985, certainly the longest time of any composer from Ricky’s musical associations. Born in 1938, Jerry will turn 83 years old on November 19th, 2021 and is still active musically. He continues to compose and issue records that are enjoyed by his many fans.



Little doubt that Jerry’s biggest hit was “Travelin’ Man” that Ricky first recorded during the March, 1961 sessions at United Recording Association studio located on Sunset Blvd in Hollywood, CA. It was Ricky’s second number 1 hit on the Billboard Charts, with the flip-side being “Hello Mary Lou” penned by the great Gene Pitney.

It’s an important statistic to note that Ricky carried 11 double-side hits into Billboard’s Top 40. Certainly was not easy to have material strong enough to carry 22 songs into these chart achievements which was extremely impressive musically, then and now. The only other single rock n’ roll performer to eclipse that level of success, was Elvis Presley. And they were good friends.

One of the reasons for Ricky’s longevity in music was made possible by his abilities to reinvent himself during phases of time through many genres of music. He was an artist, a song-writer, a poet, and a real inspiration creatively, to countless musicians that stood on his shoulders and benefitted from Ricky’s musical experiences.

Jerry’s contribution was certainly a factor in that success that Ricky accomplished. Only five tracks composed by Jerry that Ricky recorded were never officially released from his session catalog. This includes what is believed to be released as the follow-up song to “Travelin’ Man” – a song called “Window on the World” recorded during the November, 1961 sessions at Master Recorders on Fairfax Ave in Hollywood, CA. A beautiful and stunning song that would have stood the test of time.

The songs chosen for this LP vinyl record provide a great example of Jerry’s contribution to Ricky’s success. The bonus track (Desire, by The Trophies) has Ricky singing back-up which was well-mixed into the background harmony

Baker wrote 22 songs that Ricky recorded from 1958 to 1976, more than any other composer that Ricky chose to use. I don’t believe that was by design but rather due to the quality of songs that Baker wrote from his own life’s experiences and state of mind, songs that ranged anywhere from mournful ballads, to popular contemporary styles, to genuine and authentic rockers.

The 12 tracks included on this record represent the entire range of these musical categories, including some of Baker’s finer compositions. But all of Baker’s songs were recorded with excellence by a great team of engineers, producers, and musicians. And when Ricky played them in concert, all were performed enthusiastically and interpreted in which they were intended to be.

All the songs that Baker composed for Ricky have fortunately been officially released. Excellent alternate versions of some of these songs have been posthumously released as well, with exception of a few that have been held back into Ricky’s vast and exceptional session catalog.

Before Baker passed away in 2005 at 72 years of age, he authored his autobiography. He wrote it mostly to recount his internal struggles with survival and continued quest for living a peaceful life. It’s entitled “A Piece of the Big-Time” and was published just before his passing. The memoir provides insight and perception into the songs that he composed for Ricky including the depth of the librettos that Baker endured and expressed. It also provides the visualization into his partnership and experiences with Ricky Nelson and his substantial musical network.

The main thing to appreciate is that Ricky and Baker were friends, establishing a degree of separation that was both mutually warm and respectful from the very beginning.

Having produced full albums for numerous buzzing names in the last couple of years, 38 Spesh has become recognized as one of the most prolific beatmakers in the new era of hardcore Hip-Hop. So, to mark this achievement, he has decided to start giving fans the instrumentals to their favorite songs with a new series titled Speshal Blends. The first volume of the series includes beats off of Che Noir's Thrill of the Hunt II, Flee Lord x 38 Spesh's Loyalty + Trust, 38 Spesh's 5 Shots EP, and more. The title of the series is a homage to MF DOOM’s classic instrumental collection, Special Blends. The album art also references DOOM’s series, but instead of playing on the Zig-Zag motif, the Speshal Blends covers riff off the logos of popular cigar brands most commonly used for blunts

Oneknowing is the debut artist album by acclaimed composer and producer Lena Raine, most recently known for her multiple award-winning soundtrack for the video game Celeste. Based in Seattle, Raine has been composing soundtracks for games and media for 12 years, her breakout momentcoming with her work on the classic PC game Guild Wars 2. Her most celebrated work, however, has come in the form of 2018’s Celeste soundtrack. A game based around themes of anxiety, self-examination and more, Celeste is considered by many to be the key indie game of 2018, and has won multiple awards for both game and soundtrack – something which Raine painstakingly developed in tandem with the game’s design since its first steps. A flagship year for Raine was capped off in December, where she performed live with soundtrack legend Hans Zimmer at The Game Awards, the video game industry’s flagship annual award show (Celeste was nominated for fourawards, and won two). Although she’s released several nonsoundtrack releases, both under her real name and her Kuraine alias, Raine considers Oneknowing her debut artist album - a 10 track set that ranges from distorted paranoia to ambient pop, brought together by the shimmering melodies that make her soundtracks so memorable. An album that draws from “personal experiences, important places, dreams and the lack of dreams”, Oneknowing’s tracks are also threaded together by Raine’s own vocals, sung in a language unique to the album and manipulated by the software Vocaloid. In Raine’s words, “I have nostalgia for my voice as it sounded when I was younger. I can't de-age my voice, but I was able to use software and tweak its settings to a point that it has a similar quality to my voice from backthen”. At times (‘Tsukuyomi’, ‘Light Rail’) her vocals lean towards traditional pop structures, while on tracks such as ‘Wake Up’, they’re repeated, chant-like, to create a hypnotic effect. As well as vocals and software, Raine plays rhodes piano, zither and various hardware synthesizers on Oneknowing, while Michaela Nachtigall contributes violin and viola to various tracks. A succinct but expansive record full of detail, Oneknowing represents Raine’s most personal and realised original material yet, while showing a different side to one of the most unique and accomplished composers of the modern era.

After the very successfull "JIMMY WIDENER" first issue on the label dedicated to Hillbilly musice: "RED BARN Record", We had dig a little more into our personnal shellac collection to offer you the complete BULLET sessions, 1950-52 of this obscure but very talentful "proto" rockabilly band. Two year before Elvis recordings at SUN, you already feel the wind of musical change' a coming!

Plush is back honey! We begged for more & they listened. The Plush Managements™️ sophomore serve comes fully loaded with the party-starting dance kindling. 6 tracks that come with an official warning; HIGHLY FLAMMABLE. An audio smoke machine, juiced and ready2haze an event near you. Expect Regfant and D.Tiff’s Signature sass. Norty but nice jacked up edits that make you question if the originals even existed. The record touches on something old, something new, something borrowed and FREE BRITNEY too. Undeniable straight up bass in your face 4/4. It’s positively unethical to imagine a world without that precious Plush touch, gentle but firmly fierce! rawr xx :p

After featuring on the label with a contribution to Erell Ranson’s “Hand In Hand” Remix EP in 2018, SUED co-operator SW. punches back in on KOC with a hectic six-track sonic journey by way of inaugural transmission.

Crest-surfing the margins betwixt abstract beat-making, hardware experimentation and further explosive club-ready wares, the German producer breaks the trip in with the tropical hot "ariaJA" - reeling out a savvy mashup of animalian field recording, spaced-out FXs and loopy elastic bounce.

Cranking up the heat, a notch further, "moonNEWsoon" pulls out a hot mix of muscle-aching breaks, jackin' n’ smackin' toms and iridescent synth stabs, all coated with a thick sauce of mind-boggling machine stunts. Trading its gridlocked intro for an aqueously luxuriant design throughout, gOiOsee has us deep-diving in an all-blue scenario where each element finds itself draped in richly-hued envelopes.

Flip sides and here comes the further shape-shifting, non-formulaic "mASsLESS", which invites us to see straight through glassy cascades of skittish snares, gummy synth arpeggios and futuristic chimes as an Eden of AI-rendered birdsongs and forgotten melodies come to life before our eyes.

Back to a more dynamic mindset, “justMUST4y brings lush flights of altered piano chords and pop-informed harmonics face to face with a gritty, metronomic drum work to weave another singularly off-kilter epic SW. holds the secret of, right before "VFXpeaksTWIN" wraps it all up in a soul-invigorating, Twin Peaks-scented and horizon-broadening ambient finale.

While most fans know that Che Noir, Ransom, and Klass Murda all fall under the TCF Music Group umbrella, many were unaware of Street Justice’s long-standing affiliation with the label until he appeared on two cuts on 38 Spesh x Big Ghost Ltd’s album A Bullet For Every Heathen. His standout contributions to that lauded project made a strong impression on listeners, which led to high anticipation for his solo debut, Community Service. So, with Spesh providing guaranteed fire on the production side of things, Street was free to focus on giving heads the kind of introspective, gritty poetry the game needs right now. Guests spots from Eto, Planet Asia, Che, and Spesh himself all help insure Street’s initial offering is a must-hear.

The new single ‘Gold’ opens with the gritty, fervent soul of AJ Dean-Revington’s vocals, before the band’s patented harmonies surge to the fore, while thunderous drums and a euphoric hook escalate the song’s drama. It offers a timely reminder that challenging experiences will in time fade in favour of a better future. Gold stemmed from the idea of something being more beautiful having been broken. We had chatted about the Japanese art form Kinsugi or Kinstsukuroi and how things are mended with lacquer mixed with gold, and this was the perfect imagery for what we were writing about. Our scars are a visual representation of our struggles and our stories of loss are stories of survival. At the start of 2020 when we were in Woodstock finishing the album with Simone and David, we could not have imagined how the year would pan out. Gold feels even more connected and poignant now, after a year of so much loss and everyone just trying to survive.

Emerging from the frostbitten, dark and brooding woods of Siberia, NYTT LAND ascends as one of the most captivating and haunting musical forces in folk music. On their new album, Ritual, out August 6 via Napalm Records, NYTT LAND effortlessly pulls listeners into a world of ancient percussive instrumentation and vocal tradition: eight songs on Ritual tell tales of gods and heroes, born centuries ago and preserved in traditions, expressed in a unique sonic experience that can best be described by the duo itself as Shamanic Dark Folk. Blurb IG#1: NYTT LAND wear their shamanic Siberian influences on their sleeve on “Ritual” – haunting percussive instrumentation and unique, meditative vocal chants display their Shamanic Dark Folk in its full splendour. With millions of streams and views across all platforms, NYTT LAND is a force to be reckoned with in dark and ambient folk music! Blurb IG#2: Based on the tale of the ancient Siberian tribe known as Khanty, NYTT LAND transform their culture into a musical journey through their spiritual traditions. The dark, ambient atmosphere makes NYTT LAND a truly unique duo in folk, and has earned them multiple millions of streams across all platforms! Blurb IG#3: Right when NYTT LAND starts off “Svartravn” with mysterious whispers, the listener is being pulled into the melancholic atmosphere of the song – a true display of NYTT LAND’s Shamanic Dark Folk. Experimental vocal technique meets deep, stomping percussive instrumentation, inspired by ancient Siberian and Northern European culture. NYTT LAND are a truly unique duo and rightfully earned multiple millions of streams across all streaming platforms with their authentic, traditional take on folk music.

Based on the book by the same name, Minamata follows war photographer Eugene Smith as he travels Japan documenting the devastating effect of mercury poisoning among coastal communities. His efforts to publicize the suffering caused by corporate malfeasance soon draw the attention of the world to Minamata, the city where the effects of the toxin are most pronounced.

The score is composed by Ryuichi Sakamoto composer, electro-pop pioneer, buddy to David Bowie, and synthesizer legend. His work since the late 1970s has taken him from the top of the charts. Sakamoto’s music has consistently exuded a profound empathy. Whether leading Yellow Magic Orchestra’s cheeky pop, collaborating with cranial ambient artists, or, more recently, confronting his own mortality, Sakamoto’s music expresses in a few elegant gestures the haunting richness of life.

Hospital Records are extremely proud to present ‘Smile & Wave’, the
second studio album from drum & bass’ friendliest MC, Inja.
With the biggest smile on his face, the lyricist, vocalist, poet, artist and storyteller delivers
16 tracks, seamlessly weaved together through Inja’s infectiously feel-good flow and sincere
wordsmithery. The entire album was produced by Whiney, further cementing their relationship as one of the most untestable dance music pairings. Also featuring Charlotte Haining,
Eva Lazarus, DRS, Fox, Cleveland Watkiss, Singing Fats, and DJ Marky.
Album title track ‘Smile & Wave’ is the musical embodiment of Inja’s playful demeanour.
Known for being the world’s smiliest artist, Inja wrote and recorded this feel-good bouncer
alongside his daughter who is “pretty much the first person to hear anything” he’s up to
musically. Expect a rude bassline and infectious wordplay.
Teaming up with superstar singer-songwriter Charlotte Haining, ‘Reach Out’ sees two of the
most distinct voices in dance music come together over a bittersweet wobbler written about
times when you feel “so out of place, out of reach” in the words of Inja. Having worked
alongside an impressive array of electronic artists including Hybrid Minds, Sub Focus, My Nu
Leng and Friction, Charlotte’s delicately powerful hooks are the perfect counterpart to Inja’s
heartfelt flows.
Luscious pads and dubbed out pianos and guitars set the scene on ‘Baby Angel’ featuring the
worldwide wave-maker Eva Lazarus who returns to Hospital Records for the first time since
featuring on Etherwood’s ‘Light My Way Home’ back in 2015. Having worked alongside staple
figures including Mungo’s Hi-Fi, Zed Bias and Gentlemen’s Dub Club, Eva infuses her reggae,
hip-hop and jungle flavours alongside Inja’s humbling storytellings.
Inja’s “personal favourite to perform live as it smashes every and any system”, ‘Explode’, is a
140BPM anthem featuring flows that will ignite any room and a killer instrumental that will
have you bobbing no questions asked. Proving himself to be a versatile and skillful microphone controller, Inja’s ability to shell down any tempo is ever more apparent on this upfront
banger.
Three legendary MCs unite on ‘Hands, Lights, Flames, Phones’ where Inja joins forces with
two of Manchester’s very finest - DRS and Fox. Sharp lyricism is rife as the triple threat of
three titan wordsmiths link up, seeing energetic bars bouncing off each other over a cold-cut
drum & bass roller. This is a combination not to be tested.
Inja has established himself as a pinnacle figure within the realms of drum & bass. Loved for
his ability to express his thoughts into honest, relatable lyrics in ‘She Just Wanna Dance’, a
spoken word piece for Amnesty International that was a viral online hit in 2017, and more
recently switching it up to ‘We Just Wanna Dance’ during the UK lockdown, expressing his
desire to be reconnected with ravers again. Then picked up by BBC News and Sky News.
On top of being the MC of choice for drum & bass powerhouse group Kings Of The Rollers,
Inja is no stranger to tearing things up on the airwaves with support from the likes of DJ
Target, Rene LaVice and Danny Byrd on BBC Radio 1 over the years. Since his debut ‘Blank
Pages’ album on Hospital Records in 2018, Inja has flourished as a multi-talented MC, vocalist, singer and songwriter with a series of singles including the Beatport Drum & Bass charttopper ‘Game Face (Stay Alert)’ alongside Whiney, as well as the infamous ‘Lumberjackin’’ on
Serum’s Souped Up.
"To all the supporters that enjoy anything I’m a part of, I would never have had the opportunities to see as much of the world as I have without you. My gratitude has no bounds and I’d
love to share a smile with you all one day.” - Inja

Yes geeeees... the third instalment of our Full Beam! For Gees Only series is nearly upon us... We've got a few very sneaky test pressings offa the back of Pharaoh Brunson's hydrofoil shhhhh...

Yous know the drill... no tracklist... no soundclips... just 8 mega boogie BANGERSSSS!!!!!!!

Joshua is the follow-up album to Olympic. While the second album, typically, often shows what critics call “maturity”, here Simon has released instead an album of adolescence. The musician opened up his own memory box to contemplate his childhood souvenirs, and dust them off of all nostalgia. At that time, he would VHS-record movies from TV and tape record soundtracks directly from the TV speaker, so he could listen to them in his bedroom. This is when he “discovered the power of music, the way it makes you enter another world, far from reality. I wanted to pay tribute to the era I shaped myself in – the ’80s and ’90s”. Tangerine Dream, Kraftwerk and Soft Machine. Logically, these are the sonic signatures that seem to haunt the album. The timeless pioneers of synthetic music constitute the sound references, without any established chronological timeline, that blend with the atmosphere of typically “French Touch” movie soundtracks – long before the term was even coined. “I use a musical palette that acts as a flashback to my favourite teenage movies: the synth sounds of Close Encounters of the Third Kind; the synth pads in Jean-Jacques Cousteau’s fascinating documentaries about the sea world; the melodies in the manner of François De Roubaix; the themes that evoke the soundtracks of late-night TV sessions (those by Verneuil, those with Belmondo, Depardieu, etc.); and the sci-fi ambiences like in Blade Runner.” In short, an aesthetic was decided on by Simon very early on: French analog synths instead of North American symphonic orchestras.

The name Joshua has two meanings for French 79: one is linked to the idea of nostalgia, the other to adventure. On the one hand, the computer in the 1983 movie Wargames, and on the other, the boat of French sailor Bernard Moitessier.

The track titled Joshua synthesizes the spirit of the album – an odyssey, a neverending crossing of the world in search of oneself, a spontaneous escape into the future, under the benevolent eye of the past. This epic invites everyone of us to a specific place in our imagination, which is also the source of an indescribable pleasure for French 79: a gust of wind, a sailboat ride, a skateboarding trick, the smell of freshly fallen snow, or the dull roar of an impatient audience.

The same aesthetic preferences are found in the videos that illustrate Joshua’s first tracks: for Hold On, the skateboarder chose to recall the cult ’90s skate videos that he would watch on repeat as a teenager, while Hometown hints at Close Encounters of the Third Kind. Although he now calls Marseille home, Simon continuously draws with passion from the anachronic contemporaneity of his childhood in the Eastern French region.

“I need escape to be able to create. A two or three-day sailing trip gives me enough inspiration to lock myself in the studio for a week when I’m back on dry land.” His boat takes him far away from everything, far from the Old Port where she moors, the rest of the time Simon would escape by walking the streets of his city or climbing the Alpine mountains.

Not only does the new version French 79 reveal a few biographical pieces of Simon henner's history, but it also inaugurates the first vocal track for the musician. One feels a guilty pleasure when hearing him take the lead on the first track, The Remedy. The electronic fugue that opens the album sets the tone: Simon has found the cure for his inner turmoil and wants us to discover our own treatment too. Hold On is a sonic explosion that celebrates the feeling of freedom - what's more of a teenage dream than this feeling - and it eventually command one to feel the same way too. Echoing Olympic, the electronic argonaut invites his muse again, singer Sarah Rebecca. On By Your Side and Touch The Stars, the native of Ocean Springs, Mississippi, now based in Paris, hoisted the mainsail of dream pop. First, though a dialogue that surfaced their unfailing attachment to the bonds of friendship, then through the light hearted atmosphere that leaves us with no choice but to believe in our own dreams and do anything possible to fulfill them. The quest for peace in the midst of the daily din is heard in both Code Zero and the title track Joshua, two majestic journeys in search of hedonism, combined with introspection.

In a release inspired by the smooth rhythms of the region's past, Atlanta-based Dog Bite offers more music medicine in the form of Tranquilizers. The sophomore release transcends the reverie state of Velvet Changes in pursuit of a darker, more full-bodied experience. Tranquilizers migrates into a dreamy sonic realm enveloped in its own soulful influence. Frontman Phil Jones found his extensive listening to iconic R&B musicians such as Otis Redding and Isaac Hayes to be the original muse for the album. In its formation it began as a soul record; however, at its core the release remains grounded in Dog Bite's beloved shoegaze landscapes. With the support of Woody Shortridge on bass and Tak Takemura on drums, Dog Bite purposefully evades sedation through its blend of smoky textures across divergent genres. Being an album submerged between the differences of classic funk and rock music, it is Jones' customary croon that weaves a common mesh in the record's diverse artistry. First making music at the end of his high school days, 23-year-old Phil Jones began Dog Bite after dropping out of the Savannah College of Art and Design. Influenced by the work of J Dilla, Portishead, Caribou, Panda Bear and The Roots, Jones began self-releasing tracks, followed-by a 7-inch and CD on Young Turks. While later touring as the keyboardist to Washed Out he picked up an acoustic guitar and composed his debut-full length, Velvet Changes, released on Carpark in early 2013. In support of Velvet Changes, Dog Bite embarked on an extensive North American winter tour with labelmate Toro Y Moi. The two marked the occasion with a split 7. Jones returns with his newest release on Carpark, the LA EP. In addition to his time with Washed Out, Jones has appeared on a matthewdavid release and produced for Mood Rings and Bosco. As one half of Acid Flashback, he's crafted tunes for the voice of Karen Jacobs (of Toronto's Free Kisses). Dog Bite performs live as a four-piece, featuring Jones' friend Woody Shortridge formerly of defunct Atlanta band Balkans.

**LONG OVERDUE REPRESS - CLEAR VINYL 300 COPIES ONLY** “With Ela’s music I feel emotional, engaged… I can’t help but feel she’s always looking for a sense of belonging and it
seems to inform all the music that she makes. Glasgow must have more of that belonging feeling than most
cities because she’s spent the most time here, an exotic bird in a rainy city she maybe finds a lttle bit of comfort in. It’s
a pleasure to have her here, in this awful time to be living in Britain, her illuminations feel important and hopeful. A
stubborn light; someone making great timeless music out of the humdrum of the everyday.” - Stephen Pastel
Movies For Ears is a retrospective collection of works by Polish-born, Glasgow-based artist Ela Orleans which
navigates almost two decades of songwriting in the heart of the global pop underground. This remastered collection casts
an ear over what Orleans might call the ‘pop sensibility’ within her back catalogue. Released previously on a number of
small DIY labels, Orleans’ music coincided with the explosion of auto-didactic musicians finding their voice in the age of
the blogosphere, artists emboldened by the democratisation of music-making afforded by the internet. From the outset,
Orleans’ childhood studying formal music mixed with cut-up techniques, sampling, sound-art and experimentation to
create a distinctive signature cloaked in an innate melancholy and playfulness. Fully remastered by James Plotkin,
featuring extensive sleeve-notes and rare photos from Orleans’ archive, Movies For Ears presents an appraisal of the
musician’s work, painting a portrait of an artist with an uncanny ability to evoke emotions and ghosts of memories in the
listener.
Each song pulls sunshine from its surroundings, moments of pleasure plucked from eulogies. The Season employs a
hypnotic loop with Orleans’s prophetic voice heralding the season we’re doomed to repeat. In fact the singer is often cast
as the changing protagonist in her songs: on Walkingman, a hazy ballad heavy with ennui, the narrator is laden with the
world’s weight, forever pacing a groundhog day world blank, a pissed-off actor in a Kafka-esque melodrama. On Light At
Dawn we’re in a seedy kitsch bar-room go-go scene, a ghostly rock’roll romance with shimmering percussion, poledancing
in a Lynchian half-dream. Movies For Ears’ moods straddle memory and fantasy: scratchily invoking halfremembered
exotica, the flickering shadows of europhile cinemas screens, a delicately woven world anchored in Orleans
existential meditations on longing, intimacy, solitude and the search for love. These rich textures in every song don’t
overpower some crystalised moments of emotion however: on In Spring Orleans sings simply “I have been happy two
weeks together,” summarizing that feeling of elation when emerging from a depression, a long winter. It’s a moment that
perfectly illustrates the lightness of touch and clarity in the singer’s voice.
The power of the loop and Orleans’ weaving songwriting that breaks its spell is illustrated perfectly by I Know. Over an
aching chord progression, the vocal takes flight into bittersweet loneliness, Pachelbel’s Canon played at a wedding where
only one person shows up. The repeated refrain “I know, I know” ascends to the heavens as the chords descend to the
dumps and the listener is left in the middle, happy but not knowing why, maybe a little changed, two weeks together. On
Movies For Ears, Ela Orleans lets us into a secret: the rare moments of joy to be found in the joins of the loop, the spaces
between things, the spring after the winter are the moments that last after the day has faded.

A desperate, desert-baked Midnight Highway of Lost Souls, Cuckolds, Wastrels, blistering Righteous Anthems and delirious Apocalyptic Fever-Dreams. This sublime collection of knowns and unknowns, battered Nashville legends and forgotten backwoods-poets features tales of Grisly Barroom Homicides, Jilted Lustmords, Grim Divorcees in Bedlam and Fiery Suburban Infanticides. Often originally waxed and distributed in unrewarding amounts, these Troubled Troubadours sing of Cowardice, Infidelity, Spurned Lover's Suicide Pacts, Tortured Jailbirds, Vengeful Inebriates and dubious Parenting Skills.
Years in the making – ‘Hillbillies In Hell’ (Volume XII) presents 16 timeless tribulations - Sinful Seductresses, Grinding Poverty, Nihilistic Murderous Horrors, Satan's Eternal Maze of Hardships and Temptations and God's blazing Light of Redemption.
A dank yet at times uplifting stash of marginal 45s - some of these sides are impossibly rare and are reissued here for the very first time. All for your prurient listening pleasure…

. Elton Britt - Lost Highway
, Porter Wagoner - Fairchild
, Justin Tubb - The Great River Road Mystery
, Sanford Clark - It's Nothing To Me
, Johnny Paycheck - You'll Recover In Time
, Stonewall Jackson - Somebody's Always Leaving
, Porter Wagoner And Dolly Parton - The Party
, Buddy Starcher - When Payday Comes
, Tommy Curtis And Bill Taylor - Devil's Stumbling Block
, Jody Reynolds - Devil Girl
, Henson Cargill - Going Backwards
, Lorrie Collins - Another Man Done Gone
, Bobby Braddock - Revelation
, Stonewall Jackson And The Brentwood Children's Choir - That's All This Old World Needs
, The Speer Family - You Can't Run Away From God
, The Singing Rambos - When Payday Comes",Witness...

Various Artists ‘In Bed With Marina’
Classic Indie/Chamber-Pop
2LP MA90 (Marina Records) £15.50
Deal: B/C: 4015698905656

THIS ONE MISSED THE DEADLINE FOR THE OFFICIAL RSD LISTINGS BUT WILL BE AN **UNOFFICIAL RSD DROP 2 ** RELEASE...LIMITED +NON-RETURNABLE..

Celebrating its 25th anniversary, this classic Marina compilation from 1996 makes its first appearance on vinyl. Packaged in a deluxe gatefold cover, In Bed With Marina features track-by-track notes, lots of photographs, two vinyl-only bonus cuts and a gorgeous poster.
Enjoy 24 stunning tracks on two groovy LPs incl. many unreleased cuts and exclusive contributions by Edwyn Collins, Shack, Teenage Fanclub, The Pearlfishers, Cowboy Mouth, The Bathers, Harpers Bizarre, Sugartown, Paul Quinn & The Independent Group, Jazzateers, Antonio Carlos Jobim, Malcolm Ross, The Secret Goldfish, and many others.

DJ Neet & Gordon Brown Jr strikes back with their second release on Local Talk, the follow-up to their Breaking Dub release.
They are continuing on the same route, creating their own unique twist on dub and adds an homage to the early dub creations on Ninja Tune.

Dopewise sets things off with its dubbed out slow motion groove, simplicity combined with hypnotic.
Searching for Gold showcase the duo's space and melodic dub with a smash of heavy analogue bass and melodic mood-enhancing brilliance.

Delicate Wash returns to tease and please once again with a bright cocktail of mind-melding melodies accompanied by stiff drum machine rhythms.

Four piquant party starters pulled from the shores of a vintage future-scape where the horizon glows from a perpetual sunset, and there's just enough gravity to keep your feet bouncing on the sand.
Versatile, balanced and blendable, Delicate Wash #5 contains all the ingredients for you to build your own seductive sonic universe!

Last autumn Leng Records welcomed a new name to the roster, Greek DJ/producer Lex, via some warming and colourful tracks on the label’s 10th Anniversary LP and sampler EP. Now the Athenian has returned with his first full release for Paul Murphy and Simon Purnell’s popular imprint.



Real name Alex Andrikopoulos, Lex first rose to prominence in his home city of Athens when he ran the Radical Soundz record shop during the first decade of the millennium. More recently his reputation has spread worldwide thanks to his association with Leng, a recent 12” on B2 Recordings and DJ sets that frequently join the dots between disco, house and techno.



His first full EP for Leng is arguably his most musically expansive collection of tracks to date, with a swathe of guest players – keyboardist Artis Boriss and drummer/percussionist Harold Perez most prominently – swinging by to help bring Lex’s vivid musical visions to life.



For proof, check out lead cut ‘Punta Allen’, an eight-minute chunk of organic dancefloor goodness in which Lex and his musical associates layer steel pan style melodies, spacey synthesizer flourishes, eyes-closed electric piano solos, warming chords and jangling guitars atop a heady bass guitar line, unfussy drums and sweaty pots-and-pans percussion. The track’s effortless evolution, which slowly unfurls before rising towards a gorgeous and joyous conclusion, is testament to the Greek producer’s dancefloor instincts.



You’ll find more low-slung, dub disco-influenced bass on the exotic ‘The Jamail Pass’, where mazy and feverish organ solos and rolling hand percussion provide a platform for Paqua member Alex Searle’s Nile Rodgers style guitar sounds. The track’s inherent funk – emphasized by occasional bass guitar solos and fills, as well as some tumbling synth sounds – is apparent throughout the track, something that only adds to its smile-inducing allure.



Closing out a very impressive first EP on Leng is ‘Angels of Rhythm’, a hazier, faster and more intergalactic excursion that cannily combines the low-slung bass of dub disco with the intoxicating vibes and warming dreaminess of deep house. The track’s intoxicating late-night feel is partly due to an undecidedly cosmic spoken word vocal from sassy singer Harrier Summer, though Artis Boriss’ pitch-bend-sporting synth solos and fizzing electronic noises certainly help. Driving but also deep and groovy, ‘Angels of Rhythm’ offers a memorable conclusion to a very impressive EP.

CONFUSIONAL QUARTET: A few months after the release of the first and self-titled LP, this 10-inch album carrying the same title "Confusional Quartet" was released. On this album the band continues to offer songs (called songs even if Confusional Quartet did not have a singer) using the energy of post punk and the mood of new wave.
This new project also includes the piece "Sigla" produced and edited in 6 different ways.
"Sigla" is an example of what Confusional Quartet used to call "Banal Music" inspired by the designer Mendini's "banal object". This track was recorded and edited by tape recorders to come out in different "metamusical" forms.
This record stands out also for the beautiful cover featuring a photo of Giacomo Balla's "flowers" sculptures, the Italian futurist artist who worked on a plastic and dynamic reconstruction of the universe.

You can now listen to the ten tracks of this 10" on the A -SIDE of the new release on a 12". The B-SIDE is dedicated to a rare live recording dated 1980.
Despite the quality of an amateur audio cassette, this recording testifies the band's iconoclastic energy. A fulminating live set, just over half an hour, no words, just music, quickly passing from a punk piece to a jazz piece or to a polka.

This record is also offered by Italian Records on a special colored vinyl edition of 180gr.

Adam Cook aka Tommy Rawson returns to Bergerac with another killer EP of uplifting, tropical deep house, broken beat and Brit funk vibes. Following on from 2018s Gilles Peterson hammered 'Deep Blue' EP, he returns to Red Rack'ems Bergerac label with an absolutely killer 3 tracker which showcases the Watford, England based producers world class musical chops. Surely a contender for THE summer record with a sun kissed Brit funk A side which is tailor made for the WWFM and We Out Here crew. A tropical house and broken beat burner make up an equally strong flip. We are very happy (and relieved) to be presenting to you an absolutely belting EP of UK soulful dance music.

It's nothing short of a miracle that the A side track 'Illusions' has ever made it on to vinyl. Jonna from City Fly remembers 'Adam had this on a CDR at Southport in 2008 and it became our official track of the festival as we all partied together the whole weekend it got played again and again back at our Chalet parties'. But then as these things often sadly go, the funk diamond was lost for a few years in the digital ether. Fast forward to 2014 and Danny Berman aka Red Rack'em is playing a 320 of 'Illusions' everywhere but alas it's just a demo and Adam can't locate the arrangement to complete the track as it's on a broken computer in his Mums attic.

Then finally this year, after many pleading emails and plenty of gentle cajoling, there's some amazing news! Adam has located the broken computer and after a day of digital open heart surgery, and then a re-edit over Zoom (no really) we finally had the killer, classic UK soulful anthem you're listening to today. A voice over from a disco documentary cleverly introduces each instrument on the intro before Tommy pushes the button marked 'biggest bassline of the year' and takes us into boogie heaven.

'Sound Crazy' on the flip is another one of those classic Afrobeat tinged Tommy rollers. Big room vibes but with a lot of soul. Rolling broken drums and a huge bassline combine with plenty of spicy, tropical atmosphere on top. The trademark Rawson uplifting chords begin after an anticipatory vibe filled breakdown, taking you to the stratosphere.

'Ads Mood' is the most 'classical' broken beat track on the record, but they are all playable in multiple environments and transcend mere genres. Heavy bass and extra funky syncopated beats climax into a beautiful almost orchestral feel to close off an exemplary EP of higher quality moods and emotions. Don't sleep.

For the Perth group, creativity and production hasn’t stopped in 2020. Despite
much of this year’s tour plans being put on pause, Psychedelic Porn Crumpets have used their time off road to continue preparing themselves for the release of their fourth studio release, and an eventual blistering return to stages
around the world with a heavy-hitter of an album primed for the live space.
Psychedelic Porn Crumpets have already given fans an early taste of the forthcoming SHYGA! era, with ‘Mr. Prism’ in August. The creation of SHYGA! The
Sunlight Mound, especially off the back of 2019’s huge LP And Now For The
Whatchamacallit, came together in a different environment for McEwan and
the results speak to the band’s evolution and McEwan’s evolution as a songwriter.
“For the first time in a long time I was home without any tours booked, no
work, no deadlines and I felt free to create. My writing process became ritualistic; every morning starting with a small walk to the local bottle shop at 11am
and writing whatever flowed, allowing myself to design in all styles without
boundaries, and not trying to theme the album early on. I haven’t had the luxury of writing this way since the first record, which I spent almost a year working
on. It felt like I was myself again, creating without opinion or constraints. I was
gliding through weeks with a day seeming to pass.