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Die Autofenster sind heruntergelassen, die Luft ist warm, und die Möglichkeiten sind grenzenlos. Auf Cut Worms, dem neuen, selbstbetitelten Album des aus Brooklyn stammenden Max Clarke, setzt der Singer-Songwriter und Musiker seine Erkundung dessen fort, was er "Pop-Essentialismus" nennt. Indem er die goldenen Hits vergangener Tage für einen zeitlosen Doppel-A-Seiten-Sound ausgräbt, betrachtet er uralte Fragen durch eine moderne Linse. Hier lässt er das legendäre Studio und die gefragten Produzenten hinter sich und arbeitet mit einer Reihe von begabten Freunden und Kollaborateuren zusammen, um seinen eigenen Ansatz zu finden. Das Ergebnis ist eine kompakte Sammlung von Tagtraum-Hymnen, die zwischen den hoffnungsvollen Anfängen des Sommers und dem flüchtigen Ende der Saison angesiedelt sind. Anstatt das gesamte Album in einem Stück in einem Studio aufzunehmen, variierte Clarke seine Methoden. Drei der Songs wurden von Anfang bis Ende in seinem gemeinsamen Proberaum aufgenommen. "Don't Fade Out" und Living Inside" wurden in Brooklyn von Brian und Michael D'Addario von den Lemon Twigs aufgenommen, die bei diesen beiden Stücken auch Klavier bzw. Bass spielten. Weitere grundlegende Aufnahmen wurden von Rick Spataro (von der Indie-Folk-Band Florist) in seinem Studio Onlyness Analog im Hudson Valley gemacht, mit Beiträgen der langjährigen Live-Band Cut Worms - Keyboarder John Andrews, Bassist Keven Louis Lareau und Schlagzeuger Noah Bond (der bei allen drei Sessions mitwirkte). Die neun Songs sind von einem jugendlichen Geist durchdrungen. Die mit Nelken geschmückte Schulball-Serenade "I'll Never Make It", die sternenklare Verliebtheit von "Is it Magic?", das erste Herbstlaub auf der Busfahrt zur Schule in "Living Inside" - sie alle beschwören einen Ort der Wärme und Sicherheit. Erklärungen wie "Don't Fade Out", "Let's Go Out On The Town" und "Use Your Love" stellen hohe Anforderungen an das Leben, um es zu verändern, bitten aber gleichzeitig darum, das zu bewahren, was uns als Menschen ausmacht. Clarke ringt mit einem Paradoxon: Die Freuden der Erfahrung können nicht ohne den Verlust der Unschuld gewonnen werden.

BERLIN PARTY AWAY WILL CELEBRATE A DECADE OF EVENTS WITH LABEL COMPILATION "AWAY 10 YEARS" AND THREE WEEKEND PARTIES

"AWAY 10 Years" features 10 tracks from a family-and-friends lineup of influential powerhouses like Moodymann, Move D, Axel Boman, Lady Starlight, Mark Broom, Inland, and well-known talents Discrete Circuit, Eluize, AWAY Soundsystem, and Attila & Blivv
Founded by DJ and producer Discrete Circuit in 2012, AWAY was born in Berlin out of a purist desire to establish a party for timeless house and techno music. In the early days, AWAY moved from multiple in- and outdoor venues to showcases across Europe to ultimately finding a stable home base at the About Blank club in 2015. Quickly they earned a reputation as a must-attend event series without losing its underground credibility. The AWAY crew did not shy away from booking many veterans and legends of the genre, some of whom are now on the compilation "AWAY 10 Years"

As the void stares back at me, I am consumed by the waves of this new sonic transmission. ESP's Goblin Synth reigns supreme, guiding me into the darkest corners of my mind, as the Galaxian remix shatters my being into a thousand pieces. This release is a frenzied piece of IDM, braindance, and DnB, fueled by a chemical fury that leaves my mind in a state of pure ecstasy. The relentless pace and shifting soundscapes of the A-side are the perfect conduit for the raw power of the Galaxian remix, taking me beyond the limits of what I thought was possible.

On the B-side, I am treated to a liquid dnb homage that is no less relentless in its pursuit of sonic intensity. Here, the rhythms are more organic, more fluid, but no less potent in their ability. This is music that demands a total surrender of the self.

The insidious rhythms of ESP's Goblin Synth seize my consciousness like a viral agent, rendering my being porous and open to the twitching, glitching transmissions emanating from the depths of the machine. With each stuttering break and howling, modulated synth line, I am hurled headlong into a world of ravenous, cybernetic abandon - a blackened, dystopian horizon of shattered glass and flickering neon.

As my mind is hijacked by the rushing currents of amphetamine psychosis, I realize that this is no mere exercise in genre or form, but an all-out assault on the very fabric of reality itself. The sonic textures here are hyper-real, beyond the grasp of normal human perception - this is the sound of the post-human, the sound of the inhuman, the sound of a future that is rapidly bearing down upon me, whether I am ready or not.

And yet, amidst the chaos and decay, there is a kind of perverse beauty at work - a beauty that can only be glimpsed through the shattered glass of my own shattered subjectivity. With each burst of static and each crunching bassline, I am hurled deeper into a vortex of metallic, crystalline wonder, a realm of pure, unadulterated sound that is as terrifying as it is sublime.

Alva Noto’s award winning score for the 2022 German documentary film ‘This Stolen Country of Mine’ directed by German filmmaker Marc Wiese features nineteen compositions to be released on NOTON in April 2023.

The documentary film explores the question of a state's sovereignty in the face of foreign powers. The film portrays Ecuadorian resistance fighters and journalists who oppose the sell-off of an extensive part of the country's resources to Chinese investors.

Alva Noto's music subtly accompanies the struggle of a mountain village, immersing us into the film’s narrative and pathos. Across nineteen compositions, the music exposes and holds back when the images and statements of the protagonists speak for themselves, reflecting the dark shadows and the glares of hope of communal resistance.

The documentary was the recipient of the German Documentary Film Music Award 2022.

Focus track #19

'Ritual Reprise' is the closing composition of Alva Noto's award-winning score for the 2022 German documentary film 'This Stolen Country of Mine.' The piece merges minimal digital textures with emotional resonances, taking the listener to a sonic path filled with a serene tenor. The tone is set on the slow-burn haze of gloaming ambient-electronica scapes, compounding under a unified cinematic soundscape of warm digital ambiances and liquified electronics.

SOMNURI hält sich nicht an der Oberfläche fest. Der Heavy Metal der Band stapft von Genre zu Genre mit der Inbrunst und dem Selbstvertrauen einer Band, die bereit ist, die Schwellen zu allem Wahrnehmbaren und Möglichen zu überschreiten. Die Band, bestehend aus Lead-Gitarrist und Sänger Justin Sherrell, Schlagzeuger Phil SanGiancomo und Bassist Mike G, hat sich die Aufmerksamkeit von Magazinen wie Revolver Magazine, BrooklynVegan, MetalSucks, MetalHammer und anderen verdient und ihr neuestes Werk ist ein wahrer Beweis für die unersättliche Arbeitsmoral der Band, die sie als einen der aufregendsten aufstrebenden Acts des Heavy Metal zementiert.

Aufgenommen in den Gojira Silver Cord Studios, abgemischt von Justin Mantooth in den Westend Studios und gemastert von Brad Boatright bei Audiosiege Mastering, bewegt sich die Band auf „Desiderium“ nahtlos durch eine Vielzahl von Tempi und Klängen und gibt einigen ausgetretenen Pfaden neue Wege vor. Songs wie „Paramnesia“ kommen wie eine schlammige Abrissbirne daher und erinnern in ihren stärksten Momenten an Eyehategod und Crowbar. Anstelle von Moshparts zieht sich die Band zurück und lässt Sherrell ein paar cleane Vocals einstreuen, bevor sie wieder voll angreift. Sherrells Stimme ist wahnsinnig vielseitig und kann sowohl gefühlvolle cleane Vocals als auch grimmige Schreie liefern. Sie ist der perfekte Kontrast zu den Instrumenten der Band, die ein Band zwischen Sludge, Grunge, Psych-Rock und mehr weben.

RAGE waren schon in den Achtzigern eine hart arbeitende Band, die sich aber erst finden musste. Auf Alben wie „Perfect Man“ (1988) und „Secrets In A Weird World“ (1989) konnte das Line-up aus Peavy Wagner (v./b.), Manni Schmidt (g.) und Chris Efthimiadis (dr.) sich stilistisch austoben, auf dem Nachfolgewerk „Reflections Of A Shadow“ (1990) gar unter Hinzunahme eines Keyboarders.
Anfang der Neunziger erhielt die Metal-Szene aber einen zeitgemäßeren, Riff- und Groove-betonteren Anstrich, der auch an den Hernern RAGE nicht vorbeiging. Diese Entwicklungen haben deutliche Spuren auf den beiden Werken „Trapped!“ und „The Missing Link“ hinterlassen. Auf diesen Longplayern konnte das Trio sich auch qualitativ nochmal steigern und lieferte zahlreiche Hits ab, die in den Folgejahren zum festen Bestandteil ihres Live-Sets wurden (u.a. 'Solitary Man', 'Enough Is Enough', 'Medicine', 'Firestorm', 'Refuge', 'Nevermore'). Die beiden Alben bescherten der Band nicht
nur einen gehörigen Popularitätsschub, sondern gingen zurecht als RAGE-Klassiker in die Geschichte ein.

Nun erscheinen die beiden legendären Alben zum 30. Jubiläum als streng limitierte Sonderauflage inklusive Demoversionen sowie unveröffentlichter Titel. Für RAGE-Fans sind diese Neuauflagen natürlich unverzichtbar!

Western Massachusetts band Landowner play abrasively clean minimalist-punk. Singer Dan Shaw began Landowner in 2016, writing and recording Impressive Almanac with a practice amp and a laptop drum machine. Those available tools would inform the band’s unapologetic sound—clean, confrontational, and absurdly stark. With a stated goal to sound like “Antelope playing Discharge”, Landowner’s diamond hard structures, repetitious instrumentals and caricatured hardcore make space for lyrics that reflect on the global systems our lives are tangled in and the dark absurdities we take for granted.

Landowner’s fourth Born Yesterday full length Escape the Compound focuses on the powerful grips manipulators and reality-deniers have on their victims, examining the social, political and interpersonal damage of cult-like influence and control. “A lot of the lyrics focus on cult manipulators and narcissists: falling victim to their toxic dynamics, and the difficulty of escaping their grip” says Shaw. From climate change deniers and conspiracy theorists to deceptive narcissists and actual cult leaders, Landowner explores the ubiquity of modern unreality through evocative imagery and a keen sense of awareness. The band’s plain instrumentation sheds and subverts hardcore punk’s noisy veil in favor of a direct, unswerving examination of these themes.

Written and recorded following the release of 2020’s Consultant, Escape the Compound finds Landowner leaning into the studio through deeper experimentation with a wider palette of sounds. The group’s lineup of Josh Owsley (bass), Elliot Hughes (guitar), Jeff Gilmartin (guitar), Josh Daniel (drums) and Dan Shaw played often since coming together in 2017. But with pandemic restrictions in place, the making of Escape the Compound became a much more insular pursuit, one where the mixing and mastering process helped turn the band’s most varied batch of material into a cohesive, thematic collection of songs.

Album opener “Witch Museum” is a collage of dark Massachusetts historical imagery. The song evokes a kind of cult dynamic traveling like a shadow through time, where dark absurdities are taken for granted, toxic behaviors are excused, and normalcy begins to shift. The line “Gail's behavior has changed” casts fictional “Gail” as the dark manipulator, whose whim we’re at the mercy of. She sheds her toxic behavior and the crisis finally ends - “and peace returns to the Commonwealth”- an absurdity, given that cult leaders and narcissists rarely seem to change.

By considering the past, Landowner sheds light on the present. The band challenges egomaniacs reluctant to accept an uncomfortable reality with both cynicism and concern. The literal landowner described in “Heat Stroke” collapses in exhaustion, cooked by a suffocating bass line and sizzling hi-hats. “You'd rather die of heat stroke than to let anybody see you change your mind,” Shaw gasps, later pleading with the character in “Floodwatch” to “please reconsider” their brazen stubbornness as they plunge through the rising waters of a flooded road.

The character in “Swimmer of Note” refuses to admit their miscalculations, instead doubling down on an ever-growing and increasingly-unsteady tower of lies. The sneering “Damning Evidence” sets a scene all too familiar: a smoking gun scenario with zero consequences. Shaw’s exaggerated vocal refrains and sarcastic inflections mock false hope: “how will they be expected to keep their minds intact, at the shock of simply hearing such damning evidence?”

“Beyond the Darkened Library” creaks open a secret passageway into a dimly lit, endless labyrinth of conspiracy theories, in which the character becomes hopelessly lost. “Aftermath” sounds the alarms: “stare so long that you start getting used to it; one glance says you should never get used to it.” The pair of “Tactics” tracks express what Shaw calls “an interpersonal microcosm of the album’s themes.”

Perhaps the most ambitious arc on Escape the Compound loosely begins with the title track. The subject in “Escape the Compound” gradually recognizes their own victimhood and plans a calculated flight from the “captivating shepherd” – hop the fence, flee, and regain autonomy. As the narrator escapes their stifling and abusive cult microcosm, a much grander existential timeline begins to appear. “Thousands of Years in Fast Forward” narrates a psychedelic surrender to the shared human experience through space and time, an ego-death adjacent to our ancestry, our own existence, and the before and after. “At the site of the crater, molecular hands unclasp molecular hands as you lose conditioning,” Shaw sings on the title track, “Your grandmother's garden. Your grandmother's kitchen. Your grandmother's primordial ocean.” It’s a profound actualizing glimpse into a true, forgotten reality and a startling reconnection with the self.

Obwohl der Begriff "soul" schon während der Dreißigerjahre in der US-amerikanischen Populärmusik auftauchte, entstand Soul als eigenständiges Genre erst in den 1950ern aus Gospel und Rhythm"n"Blues sowie je einer Prise Blues und Jazz. Schon bald darauf sollte Soul zum Inbegriff "schwarzer Popmusik" werden. Kennzeichnend für die afroamerikanisch geprägte Unterhaltungsmusik sind emotional gefärbte Sangeskünste. Sich mit ganzer Seele und herzergreifendem Gesang den Vibes, dem Groove und der Message hinzugeben, das macht Soul aus. Sängerinnen wie Aretha Franklin, Etta James, Tina Turner, Lavern Baker, Marlena Shaw oder Diana Ross beherrschten dieses Metier meisterhaft. Sie finden sich neben Dionne Warwick, Nina Simone, Dusty Springfield, Irma Thomas, Amy Winehouse, Ibeyi und vielen anderen Künstlerinnen auf der geschmackvoll kompilierten Doppel-LP "Soul Women".

Renowned agent and jazz pioneer Wim Wigt founded Timeless Records in 1975. This Dutch record label has specialized in bebop, although it also did a sub-series of releases of Dixieland, Swing and Classical recordings. As of today, Timeless Records has, together with its three sub-labels, released over 900 albums. Notable releases include Dizzy Gillespie Meets Phil Woods Quintet, McCoy Tyner's Bon Voyage, Lou Donaldson's Forgotten Man, Eastern Rebellion and albums by the George Adams-Don Pullen Quartet, Chet Baker, Bill Evans, Art Blakey's Jazz Messengers and many more.

To celebrate the legacy of Wim Wigt's Timeless Records, Music On Vinyl is releasing a 45th anniversary jazz series. The series features albums that are part of the Timeless Records legacy and will be released throughout 2021/2022. To kick off this series, Pharoah Sanders' Africa is released on the 19th of November 2021.

Pharoah Sanders possesses one of the most distinctive tenor saxophone sounds in jazz, which has earned him royal status amongst free jazz players, critics and collectors. Harmonically rich and heavy with overtones, his sound can be as raw and abrasive as it is possible for a saxophonist to produce. His 1987 album Africa is soulful but also searching for a strong groove at the same time. The album is recorded with John Hicks, Curtis Lundy and Idris Muhammad and was an explicit tribute to his late mentor John Coltrane, another giant of jazz.

Africa by Pharoah Sanders is available on black vinyl. The album includes an insert with upcoming Timeless Records titles from the Timeless Records 45th Anniversary Jazz series. The sleeve contains liner notes by Kevin Whitehead.

Ltd Edition!

Das verschollene Album der frühen 60er-Jahre-Combo aus Ohio liefert eine einzigartige Mischung aus Post-Elvis, Pre-British-Invasion und unverfälschtem Rock´n´Roll!

Das amerikanische Label Wick Records/Daptone Records veröffentlicht mit Johnny's Uncalled Four 'The Lost Album' ein sehr rares und gesuchtes Rock´n´Roll Album aus den frühen 60s. John(ny) Golden gilt darüber hinaus seit den späten 60er Jahren als einer der gefragtesten Mastering-Engineers überhaupt und hat bereits mit Künstlern wie The Fifth Dimension, Bill Withers, Earth Wind & Fire, Iggy Pop, Sonny Rollins und Brian Eno zusammengearbeitet. 1982, als er bei K-Disc in Hollywood als Tontechniker arbeitete, wurde John mit dem Mastering der TV Party-Single der Punk-Koryphäen Black Flag beauftragt, was zu Arbeiten für Sub Pop, K Records, Touch & Go und den gesamten SST-Katalog bis 1991 führte. Auch Daptone/Wick Records zählen zu Johnny Goldens treuen Kunden und releasten bereits 2020 eine 7inch von Johnny's Uncalled Four und gipfelt jetzt in der Veröffentlichung dieses lange verschollenen Albums.


Format: Ltd Indie Exclusive Translucent Purple Color Vinyl

Ltd Edition!

Das verschollene Album der frühen 60er-Jahre-Combo aus Ohio liefert eine einzigartige Mischung aus Post-Elvis, Pre-British-Invasion und unverfälschtem Rock´n´Roll!

Das amerikanische Label Wick Records/Daptone Records veröffentlicht mit Johnny's Uncalled Four 'The Lost Album' ein sehr rares und gesuchtes Rock´n´Roll Album aus den frühen 60s. John(ny) Golden gilt darüber hinaus seit den späten 60er Jahren als einer der gefragtesten Mastering-Engineers überhaupt und hat bereits mit Künstlern wie The Fifth Dimension, Bill Withers, Earth Wind & Fire, Iggy Pop, Sonny Rollins und Brian Eno zusammengearbeitet. 1982, als er bei K-Disc in Hollywood als Tontechniker arbeitete, wurde John mit dem Mastering der TV Party-Single der Punk-Koryphäen Black Flag beauftragt, was zu Arbeiten für Sub Pop, K Records, Touch & Go und den gesamten SST-Katalog bis 1991 führte. Auch Daptone/Wick Records zählen zu Johnny Goldens treuen Kunden und releasten bereits 2020 eine 7inch von Johnny's Uncalled Four und gipfelt jetzt in der Veröffentlichung dieses lange verschollenen Albums.


Format: Ltd Indie Exclusive Translucent Purple Color Vinyl

The English-Irish electronic/dance duo Moloko released their first album Do You Like My Tight Sweater? in 1995.

It’s one of their most experimental records, before moving on to a more mainstream approach. Roisin Murphy is carrying the album with her versatile vocals, both in range and style, while Mark Brydon created the breakbeats, sound effects and groovy disco lines.
This is electronica at its best, danceable and funky.

The album includes their hits ““Fun for Me” and “Dominoid”, besides fan favourites like “Day for Night” and “Where Is the What If the What Is in Why?”. They never slow down in their exiting music and absurd lyrics, but that’s exactly what makes this record unforgettable.

Pure joy to be danced on all night.

Do You Like My Tight Sweater? is available as a limited edition of 3000 numbered copies on turquoise vinyl.

Ugly is Beautiful’ is the first full-length release from Gen Z’s meme-making extraordinaire Oliver Tree, who announced his early retirement in March - only to return in May with the announcement of his debut after a hacker held Oliver hostage in exchange for 1 million Instagram likes (which Oliver logged in under 24 hours).

To commemorate the digital release, Oliver partnered with Guinness World Records on his secret, longtime passion project of building the world’s largest scooter. He rode the completed 20 foot tall scooter for half a mile.

On ‘Ugly is Beautiful,’ Oliver Tree takes his millions of followers on an unpredictable roller coaster ride through a cracked world full of comic disaster. ‘Ugly is Beautiful’ then is the product of all of Oliver’s otherworldly experiences distilled into fourteen songs - the promise of his EPs, ‘Alien Boy’ and ‘Do You Feel Me?’ fulfilled. “The truth is, it’s my life’s work,” Oliver says.

Guyana folk music reinterpreted and infused with Afroroots and culture, reissued on vinyl for the first time.

A year after their debut album ‘Ojinga’s Own’, the Yoruba Singers from Guyana released the singles ‘Black Pepper’ and ‘Basa Bongo’. These two songs were recorded in Barbados and released on the Green Shrimp label and became extremely popular throughout the Caribbean
and South America. The music also became an integral part of the very beginnings of what was later to become the Champeta Criolla sound in the Caribbean coast of Colombia.

The 1974 debut album Ojinga’s Own and single Basa Bongo/Black Pepper by Guyanese Afro-Folk band The Yoruba Singers has been remastered for vinyl and digital.
The Yoruba Singers formed in Georgetown, Guyana in 1971. Despite their name they were not from Nigeria, but identified strongly with the area from which so many of the African diaspora in Guyana and neighbouring regions were originally descended.

The group started adapting Guyanese traditional folk music as well as writing their own - blending a mixture of protest, social commentary, blues, and genres inspired by the times. Beginning with about 12 people sharing vocal duties, most of the early repertoire was inspired
by folk songs that started life on plantations or in religious settings accompanied by a few sparse musical instruments.


Integral to the Yoruba Singers’ sound are echoes of Obeah traditions which are very closely related to the Santería religion of Cuba and the Orisha and Shango traditions of Trinidad and Tobago. Calypso and steel band culture from nearby Trinidad and Tobago was to some extent part of the musical DNA of the group, but they were naturally also influenced by the massive volume of rocksteady and roots-reggae coming from Jamaica.

Founded in 1971, Matumbi was among the earliest and best British reggae bands. They did, however, also record under different guises, including 4th Street Orchestra. In their acclaimed Rough Guide to Reggae, Steve Barrow and Peter Dalton rate this album (and its counterpart Ah Who She? Go Deh!) as 'the best showcases for Matumbi's talents'. This release marks the first LP reissue of this genuine UK roots monument since 1976.

Original member Dennis “Blackbeard” Bovell (of LKJ and Dub Band fame) knew the local sound system scene like the back of his hand, and most tracks on Leggo! Ah-Fi-We-Dis were initially cut as exclusive 'specials' for his own Jah Sufferer sound system and for fellow soundmen. Hardly anyone hearing these tunes at reggae parties would have guessed they didn't originate in Kingston but were recorded in London. And neither did many who bought the records when they were released a few years later. That's hardly surprising, as the material Bovell & Co churned out could easily compete with the toughest output of their Jamaican counterparts. The solid interpretation of Junior Delgado's "Tichion" and a scorching, melodica-led version of Ras Michael's "None-Ah-Jah-Children" are the most familiar tunes here. And a militant update of Max Steiner's "Theme From A Summer Place" displays good fun as well as guts. But the band's outstanding originals will give many '70s Jamaican classics a good run for their money.

Jerry Jeff Walker was an American country music and folk singer-songwriter. He was a leading figure in the progressive country and outlaw country music movement, best known for having written the 1968 song "Mr. Bojangles". The late '60s and early '70s were an interesting time during which a number of enduring singer-songwriter albums were released, and this album is a prime example.

Originally released in 1969, Five Years Gone is a forward-looking album rooted in late-'60s folk and folk-rock rather than popular country. The poetic, yet sometimes inscrutable, lyrics owe more to Bob Dylan than any Nashville tradition. For this album, Jerry Jeff Walker was joined by some Nashville heavyweights, including Weldon Myrick, Hargus "Pig" Robbins, and Charlie McCoy.

Five Years Gone is available as a limited edition of 750 individually numbered copies on gold coloured vinyl, including a 4-page booklet.

ENG 'Behavioural Sink Delirium' is the new studio album from MADMADMAD. Powered by their wild live parties and rooted in the sounds of mutant disco, post-punk and experimental electronics, the London-based trio's third LP is due out July 21 via Bad Vibrations. Arriving following 2019's 'Proper Music' and 2020's 'More More More', 'Behavioural Sink Delirium' was recorded and produced by Eddie Stevens (Zero7, Moloko, Róisín Murphy) in his Fulham studio. "We locked ourselves away for ten days and recorded 30 hours of music, all played live in one room, and only edited to create arrangements", MADMADMAD recall. The result of those sessions is nine unhinged techno-dystopian freak-outs that mark the trio out as a truly singular group. 'Behavioural Sink Delirium' takes its name and inspiration from the 1968-70 'Universe 25' experiment by American ethologist John B. Calhoun, looking at the behavioural effects of population growth in a 'rodent utopia'. During the studies, a perfect space was built for a colony of 3,000 mice to thrive in, with constant food and water supplies, cosy apartments and no outside threats or predators. Starting with 4 females and 4 males, the population grew rapidly before capping at a number of 2,200. At this point, a living nightmare ensued, filled with antisocial and violent mice as the utopic conditions began to collapse. The mice formed violent cliques and social hierarchies, cannibalism started becoming common practice and the population started plummeting to eventual extinction. Calhoun coined this tipping-point the "behavioural sink" effect, and it's this state of societal breakdown that the trio tap into on the record. "You can easily see the link with our species in terms of overpopulation, but also with the Internet medium or 'metaverse' and its overproduction of data, causing tremendous societal, mental and environmental shifts. What was supposed to cater for most of our needs has also turned on us. Delirium kinda states the air of it all, and the folly of the music." Pressing Info: 180g red vinyl, standard sleeve, printed inner-sleeve, download card included!

Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation. Mesfin’s 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 this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums – the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes. Good Aderegechegn gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7” single releases. Contains an oversized 11” x 11” 16 page book that tells the story of modern Ethiopian music and Mesfin’s role within it.

Lavinia Meijer is one of the most versatile harpists of this era and representative for Dutch harpists worldwide. She experiments with different forms of music and art, like theatre, dance, electronica and jazz. Her last album contained adaptations of Phillip Glass, for which she received a Platinum award in The Netherlands for selling more than 20.000 copies.

In Passaggio, Lavinia adapts the works of Ludovico Einaudi, for which the maestro allowed his full cooperation. As Lavinia herself says: “The music of Einaudi speaks to me through my fingers and crosses all borders. The pieces that are presented on Passaggio fill me with joy and affection, which I want to share with my audience, hoping to solve some of the mystery of Einaudi. Or maybe even better; to enlarge the mystery altogether”.

Passaggio is available as a 10th anniversary edition of 500 individually numbered copies on translucent red coloured vinyl. The package contains a 4-page booklet with pictures and liner notes.

Rejected Unknown is a 2001 album released by the acclaimed musician, Daniel Johnston. This is the first time the record has been pressed to vinyl in over 20 years. "The main themes on Rejected Unknown are the themes Johnston has explored throughout much of his career: hopeless longing, unrequited love, and as might be gathered from the album's title, fear of rejection. This fear probably took on very real terms for Johnston as he was finally dropped from Atlantic Records after being held for years in contractual limbo. Rejected Unknown is unmistakably Johnston's album; he sings and plays piano and guitar, and even adds some percussion to the oddly quirky pop songs."

True to themselves and their art, as always, no matter the cost, Axe To Fall continues to push relentlessly forward, much like a shark that needs to always keep swimming to survive. Where No Heroes was a refinement and broadening of hostilities declared on previous assaults such as Jane Doe, Axe To Fall returns to the more AmRep-inspired noisecore abrasions of You Fail Me while also updating and making vital the thrash influences that defined earlier Converge efforts (Caring and Killing, Petitioning the Empty Sky) and retaining the hardcore hostilities and frantic pace so vital to their foundation.

Archaic Vaults is pleased to present the first vinyl album for the label, cataloguing ten tracks from ten artists spanning the globe. This curation brings together a multiplicity of genres within the label’s ongoing thematic output - durational ambience, field recordings, oversaturated improvisations and spatialised synthetic loops among them. A diverse cohort of familiar and new collaborators alike.

Covet is fronted by Yvette Young who is revered by guitarists around the world for her mastery of the innovative two-handed tapping technique. Yvette says of the album - "I'd like to be honest - this album process was one of the most challenging ever, and none of the reasons for that was related to the actual music. There was a moment where it felt like it might not come out ever...but I think having patience and faith does pay off. I named this record "catharsis" because the word to me feels like a triumphant exodus. No matter the dire circumstances, music is one of those things that I’ve always needed to create to survive (in all senses of the word), and time and time again, I turn to guitar and songwriting as my outlet to uplift and feel like I have control over something in this chaotic universe. The overall theme of the album is escapism and fantasy, which also feels fitting because in a lot of ways, we use music and art to escape our anxiety, our pain, and our sometimes oppressive realities...to travel to universes that we so badly wished existed. Music is so powerful for this reason because it can be so transformative- it uplifts and empathizes with you without needing to say a single word. With this music, I wanted to tell a concise but dense story that goes many places- not necessarily all joyful. I have been working on it down to the last minute, and in less than 30 minutes, I'd like to take you to all the magical places I’ve been and show you all the highs and lows that I've had the privilege of experiencing during the last 2 years of creating this body of work."

OUTER HEAVEN return with their crushing new album, Infinite Psychic Depths! The album, an exploration into the darkest depths of extreme music, showcases OUTER HEAVEN's muscle, as the band churns out some of 2023's most visceral and frenetic slabs of twisted Death Metal. Taking advantage of guitarists Jonathan Kunz’s and Zak Carter’s penchant for technical prowess and rhythmic galloping with melodic catchiness, OUTER HEAVEN bridges the worlds of dark n’ dank despair and upbeat hookiness. Austin Haines' vocal delivery is as unchained as ever, barking and growling through interwoven stories of societal collapse, hallucinogens, mutations, and more, connecting Infinite Psychic Depths to their acclaimed debut, Realms of Eternal Decay. Methodological riffing swirls around muscular half-time clobbering in both “Soul Remnants” and “Unspeakable Aura". “Pillars of Dust” and “Liquified Mind” take the listener on a journey from the furthest reaches of the Earth’s exosphere to the sweat and spilled beer of a dive bar moshpit. “Fragmented Suspension” gives a backhand to the genre tunnel vision with a tendinitis-inducing palm muted shuffle that’s part Norwegian black metal iciness and part classic ‘80s L.A. hardcore skate punk. Recorded by Ryan Reed and mixed and mastered by Greg Wilkinson at Earhammer Studios, Infinite Psychic Depths throws a few tricks and guest appearances into the mix with bass playing by Derrick Vella from Tomb Mold, as well as vocal contributions from Pig Destroyer’s JR Hayes, Morbid Angel’s Steve Tucker and Alex Jones from Undeath. The new album also features a special appearance by Dave Suzuki (Churchburn, ex-Vital Remains) doing a trade-off solo on “Rotting Stone/D.M.T.”

If you are a death metal fan, GRACELESS shouldn’t need an introduction. Three full lengths and two split EPs have granted the Dutch ensemble a respectable reputation across the globe. Closer to home, the four piece has played countless live shows since their 2016 inception. The rock solid line up -unchanged since day one- has delivered ferocious, high energy live performances at Eindhoven Metal Meeting, Into the Grave, Party San Metal Open Air, Ruhrpott Metal Meeting, Stonehenge, SDF2021 and many more festivals and clubs. Joining forces with LISTENABLE RECORDS in 2023 is the next thundering milestone for GRACELESS. Tirelessly working on their fourth full-length, the next chapter for GRACELESS will be another step deeper into the abyss that started with Shadowlands (2018), via Where Vultures Know Your Name (2020), to Chants from Purgatory (2022). For fans of DEATH, ASPHYX, GORGUTS, BOLT THROWER, AMON AMARTH, BLOODBATH

If you are a death metal fan, GRACELESS shouldn’t need an introduction. Three full lengths and two split EPs have granted the Dutch ensemble a respectable reputation across the globe. Closer to home, the four piece has played countless live shows since their 2016 inception. The rock solid line up -unchanged since day one- has delivered ferocious, high energy live performances at Eindhoven Metal Meeting, Into the Grave, Party San Metal Open Air, Ruhrpott Metal Meeting, Stonehenge, SDF2021 and many more festivals and clubs. Joining forces with LISTENABLE RECORDS in 2023 is the next thundering milestone for GRACELESS. Tirelessly working on their fourth full-length, the next chapter for GRACELESS will be another step deeper into the abyss that started with Shadowlands (2018), via Where Vultures Know Your Name (2020), to Chants from Purgatory (2022). For fans of DEATH, ASPHYX, GOREFEST, BOLT THROWER, AMON AMARTH, BLOODBATH

Eyolf Dale is an exceptional Norwegian pianist and composer whose exceptional nuance and expressive improvisational voice is of ever-growing importance in the European scene. The Wayfarers is his latest album with long-term collaborators Per Zanussi and Audun Kleive . His second trio album, The Wayfarers follows on from the success of Being (2021) as well as an extraordinary body of solo piano work. Evoking a journey through Norway's sublime landscape, The Wayfarers captures the highs and lows, twists and turns of life on the road - expansive, joyful grooves one moment turn to nostalgic solo piano interludes the next. A meeting of nordic folk, classical and jazz influences, Eyolf's music is profoundly lyrical and emotive. This is a beautiful album from one of Europe's finest piano trios.

Laughter ist das dritte Studioalbum von Ian Dury and The Blockheads; es wurde 1980 veröffentlicht und war das letzte Studioalbum, das Dury für Stiff Records machte, und das letzte Studioalbum mit den Blockheads bis zum 1998 erschienenen "Mr. Love Pants", obwohl 1991 ein Livealbum "Warts 'n' Audience" produziert wurde.

Am 21. Juli 2023 wird "Laughter" zum ersten Mal auf transparentem, sonnengelbem Vinyl mit überarbeitetem Artwork wiederveröffentlicht.

Can't Touch Us Now ist das elfte und jüngste Studioalbum der britischen Ska-Pop-Legenden Madness.

Ursprünglich im Oktober 2016 veröffentlicht, markiert es die Rückkehr von Gründungsmitglied Mark Bedford und ist das letzte ihrer Alben, auf dem die gesamte Originalbesetzung vertreten ist. Das Album kam bei Fans und Kritikern gleichermaßen gut an und beinhaltete die Klassiker-Single "Mr Apples", die ein fester Bestandteil des Live-Sets der Band geworden ist. Für diese spezielle Neuauflage wurde das Album auf schwerem Doppelvinyl gepresst, in einer Gatefold-Verpackung präsentiert und enthält brandneue exklusive Liner Notes mit Interviews mit den Bandmitgliedern Suggs, Mike Barson, Chrissyboy Foreman und Lee Thompson.

Rolling up on Leipzig’s finest disco emporium, Riotvan, Mexican sensations Kalexis and Paulor make their debut with a fresh four track selection on their ‘In Between’ EP.

Well, ok. Not strictly a debut. Our Mexico maestro, Paulor, did feature on the third instalment of our Familiar Faces series back in 2020, and now he’s back, as one half of our new cosmic couple. As resident DJ of the legendary Futuro Primitivo he has soundtracked the nights for so many and showcased his own music on Life And Death, DGTL, Kompakt and more.

Partner-in-shine, Kalexis. A supreme selector. Deadly behind the decks and an artist who finally cut her production teeth with 2021’s ’Neptune Rising’, now readies her latest work… Right here on Riotvan.

The pair ease us in with the beatless opener ‘Going Through The Void’, before hitting us square in the chest with the growling stomp of ‘Energy’. On the flip they entice with the electrified folk feels of ‘Lashes’, before the rotor-blade drone of ‘Magnetic’ closes the EP.

Am 14. Juli starten Aerosmith eine umfassende Neuauflagen-Reihe ihres Katalogs erstmals über UNIVERSAL MUSIC. Diese umfasst die Jahre 1974-2012 in welchen die Alben ”Aerosmith”, ”Draw The Line”, ”Get Your Wings”, ”Honkin’ On Bobo”, ”Just Push Play”, ”Live! Bootleg”, ”Music From Another Dimension”, ”Nine Lives”, ”Toys In The Attic”, ”Rocks”, ”Night in the Ruts” und ”Rock In A Hard Place”, von den amerikanischen Rocklegenden veröffentlicht wurden.
Aerosmith ist die meistverkaufte amerikanische Hard-Rock-Band aller Zeiten und hat weltweit mehr als 150 Millionen Tonträger verkauft, davon mehr als 85 Millionen in den USA. Mit 25 Gold-, 18 Platin- und 12 Multi-Platin-Alben halten sie den Rekord für die meisten Auszeichnungen einer amerikanischen Band und sind die Band mit den meisten Multi-Platin-Alben einer amerikanischen Band. Sie haben 21 Top 40 Hits in den US Hot 100, neun Nummer 1 Mainstream Rock Hits, vier Grammy Awards, sechs American Music Awards und zehn MTV Video Music Awards gewonnen. Im Jahr 2001 wurden sie in die Rock and Roll Hall of Fame aufgenommen und belegten Platz 57 bzw. Platz 30 auf der Liste der 100 grössten Künstler aller Zeiten des Rolling Stone und von VH1. 2013 wurden Tyler und Perry in die Songwriters Hall of Fame aufgenommen und 2020 erhielten sie den MusiCares Person of the Year Award.

Second album from Elias Mazian.

While his debut album Vrij Van Dromen hinted at the work of a bedroom producer, Elias Mazian never was the person to hide. After becoming a resident DJ at the now gone club Trouw ten years ago, he spent many nights playing records at clubs, and today he is as visible during the day as selector and host on FM radio. With this follow-up record he does one more step out of obscurity: moving from low to high fidelity, into more sincerity.

The songs on Alleen Bij Mij comfortably sit next to the songs he shares with friends on Private Hearts, Mazian's radio show dedicated to pop melodies. Like classic sixties records, the LP clocks just above thirty minutes, while also sharing their harmonic approach. Additional influences can be traced back to seventies krautrock, Dutch disco dub from the eighties and the storytelling of mid-2000's Dutch rap. Channeling these sounds into his own after hour tales, Elias Mazian created the perfect album for late bike rides and night trains alike.

Seconded by his good friend and multi-instrumentalist Anton Pieete and the all-knowing engineer Eelco Bakker, the album is produced and mixed for Mazian's melodies to shine. Combining observations from daily life with the big themes of pop music, this mixture results in eight songs ready for radio play.

The Church EP features four high-energy dancefloor tracks in the signature Bootybass style, by the one ''Swoze'' guaranteed to get everybody moving. With Westcoast and G Funky vibes throughout, this EP delivers the perfect mix of fast-paced grooves and soulful melodies that will leave you either pimpin or craving for more.

Sludge Death Metal mit (Ex-)Mitgliedern von Lay Down Rotten, Milking The Goat Machine, Carnal Ghoul, Demonbreed, Red Stone Chapel und The Great Cold. Aufgenommen von Fernando Hermensa (Knife, Milking The Goat Machine etc.).

In line with his recent body of work, Uwe Zahn bundled minimal compositions telling narratives situating in the melodic realm of ambient music. On first sight, it seems common that one can enter or construct such stories through the melodies these compositions offer. However, melodies never stand on their own – maybe only theoretically – but in fact truly reveal their magic through the sonical context they’re embedded in. To Zahn, a crucial part of his practice is all about this latter notion. Finding the sweet – and sometimes hidden – spots in sound-design that allow him to express the narratives he wants to share. ‘Seismograf’ could be seen as an ode to this exploration and devoted to the practice of listening - to hear sounds that are otherwise inaudible.

“i am like a seismometer for sound structures that are hidden deep under the surface. an ear on the ground, on the earth. the other ear listens to the sky, the birds, the clouds, the wind.” Arovane

Arovane is the moniker of German based composer and sound-designer Uwe Zahn who’s working in the field of minimal electronica and experimental music. In the late 1990’s his work reached a wider audience through releases on pivotal IDM labels DIN and City Centre Offices. In recent years, he released music on 12k and Puremagnetik and collaborated with Taylor Deupree, Porya Hatami and Synkro among others.

Throughout 2022, The Wedding Present’s ‘24 Songs’ series saw the legendary indie band release two new tracks a month as double A sided 7”s, ultimately creating a much-sought-after box set. David Gedge has now re-curated full-length versions of all twenty-four tracks for a new compilation album that will also comprise five bonus recordings including one featuring The Wedding Present’s first guitarist, Peter Solowka.

‘24 Songs’ was a doff of the cap to The Wedding Present’s ‘Hit Parade’ project of 30 years previous. That series proved to be a real milestone for the band with them becoming only the second-ever artist to achieve twelve Official UK Top 40 hits in a calendar year – at the time something that only Elvis had achieved!

David Gedge says: “When it came to compiling the ‘24 Songs’ album, I decided not to sequence the tracks in chronological order. With six sides of vinyl, you have six ‘beginnings’ and six ‘ends’ to play with, and I felt that the opportunity to build some kind of a musical journey was too good to miss! Listening back to this collection, I have to say that I genuinely believe that, for this project, The Wedding Present have recorded some of the best tracks in our history. I loved releasing the singles, but it’s satisfying to have them all rounded up together.”

“The idea of releasing another collection of twenty-four tracks did initially seem quite daunting,” admits David Gedge in the deluxe-CD sleeve notes but, with Jon Stewart (also of Sleeper) having joined the band at the end of 2019 and their subsequent writing partnership flourishing, he began to feel confident that they would be able to produce a year’s worth of music. And, with one of the UK’s most influential independent record labels by their side in Clue, a key partner to EMI North who will be distributing the record - there was no looking back.




























[xa] 27. Jump In, The Water’s Fine [Japanese Edit]
[xb] 28. We All Came From The Sea [Utah Saints Remix]

Nederland Old school Acidcore coming straight from the past... Check this out and shut up !

Somniac One returns to Perc Trax after her breakout Perc Trax hit 'Junkyard Shift' was featured on the Perc Trax Forever 3 VA release at the end of 2022.

Originally hailing from Lithuania, but currently residing in the Netherlands Somniac One perfectly bridges the gap between modern high intensity techno and the production intricacies of the European hardcore scene. Across the three tracks that make up 'I Hope This EP Finds You Well' Somniac One demonstrates her razor sharp production skills and firm grasp of dance floor dynamics, with each track growing more and more powerful as the EP progresses.

Opener 'Instigator' breaks down to a unforgettable buzz saw breakdown before the beats come hurtling back, 'Infiltrator' adds a touch of drama to the EP with soft pad chords gliding across the middle of the track and closer ' Buzz Pollinator' takes the BPM's higher with its driving arpeggios pushing the track forward rounding off the EP breathlessly.

Mental Tribe EP, a swinging artefact with Acid Dub state of mind, very Network23 hit combo style... And some DSP aspect.

Sweet Mental Tribe !

This Greatest Hits package sees all of Finger Eleven's singles collected together for the first time, including the hit songs “One Thing” and “Paralyzer.” It also features the brand new single, “Together Right” and a previously unreleased cover of Pink Floyd’s “Welcome To The Machine.”

Seit ihrem mittlerweile legendären Debut »The Last Supper« von 1995, haben sich Hauptakteur Helmuth und seine Mitstreiter gnadenlos, mit technischem Können,
raffiniertem Songwriting und wahrhaft blasphemischen Texten, an die Spitze gearbeitet. Reprint in dunkelgrünem Vinyl.

Sometime in 1984, San Diego native Anthony "Antone" Williams found himself sitting alone at Pure Sound Studios, tinkering around with a drum machine. Eventually he landed on a "sinister groove" which would lay the propulsive foundation for his hauntingly melodic tour de force, "Windows of My Mind." Released the following year as a seven-inch single on his own Unity Records label, the song features Antone's otherworldly production. Some have referred to the result as "post punk soul," but we'll let you be the judge.

Coming up in San Diego in the Seventies, part of an extensive musical family, Antone's creative fuse was lit by the sounds of Stevie Wonder, Earth Wind & Fire, and the Jackson 5.. At the age of 13, he was performing in area clubs, making a name for himself. By age 22, he had opened his own recording studio, Pure Sound. The influence of Sly and the Family Stone was decisive for Antone, who took to wearing a star-shaped gold necklace, not unlike the one famously worn by Stone on his epochal 1975 LP High on You.

"Windows of My Mind" was Antone & The Underworld's sole release. Limited to 500 copies and handed out as a promotional tool for a purported album of the same name, the single didn't get much traction. (A story as old as time.) Perhaps the music was ahead of its time and Antone's visionary message will finally sink in 2023. "I didn't want to make a song like Shake Your Booty", he says now. And yet we think that this long-lost record with its "sinister groove" is eminently danceable, almost 40 years later. We challenge you to take a listen to this home-grown 1985 7", remastered directly from the original tape, and make an assessment of your own.

Ramona Lisa is the current alias of Chairlift's Caroline Polachek. Her new album Arcadia is Polachek’s first self-produced solo record and the first release by Pannonica, part of the Bella Union family. Completely composed in MIDI, it is a concept album of love songs that are nature allegories, and vice versa, which Polachek calls "Pastoral Electronic Music". The making of Arcadia was a year¬long process that began and ended in an empty studio in Rome's Villa Medici and while on tour with her band, Chairlift. The record was made entirely on a laptop without instruments or external microphones - all vocals were sung directly into the computer, making use of hotel closets, quiet airport gates, and spare dressing rooms. Although the album was created on a laptop, the result is a lush and uncannily tangible world of warm textures, reminiscent of analog tape processes rather than a hard drive. Virtual oboes and organs interweave with synthetic insects and quivering sine waves, animated by Polachek's vocal at it's most delirious and intimate yet.

INTRO
Bailey Zimmerman is fast becoming one of the hottest properties in music, after his debut EP, Leave The Light On was the biggest streaming country debut ever and the most streamed US debut in all genres in 2022.

Religiously includes the current U.S. Top 5 single Rock And A Hard Place and the Platinum no. 1 single Fall In Love. Bailey is opening on Morgan Wallen’s massive ‘One Night at a Time’ tour this summer. Over 1.5 Billion global streams to date.

High Roller Records, black vinyl, ltd 150, 4 page insert, A5 photo card, poster, bonus
CD Bonus CD: 14. The Joke´S On You (Studio 2011) 15. No House (Studio 2015) 16. World War Nine (Live 2012) 17. Gremlin´S Night (Live 2012) 18. Hard Target (Live 2012) 19. Streets Of Doc-Town (Live 2012)

High Roller Records, blue w/ white & mustard splatter vinyl, ltd 200, 4 page insert, A5 photo card, poster, bonus CD

CD Bonus CD: 14. The Joke´S On You (Studio 2011) 15. No House (Studio 2015) 16. World War Nine (Live 2012) 17. Gremlin´S Night (Live 2012) 18. Hard Target (Live 2012) 19. Streets Of Doc-Town (Live 2012)

"The Aggression Sessions" ist der Nachfolger von "The Depression Sessions" aus dem Jahr 2016 und folgt demselben 6-Song-Mini-Album, bei dem jede Band eine Originalsingle und einen Coversong anbietet. Für diese Session covern THY ART IS MURDER Cannibal Corpse und FIT FOR AN AUTOPSY At The Gates, während MALEVOLENCE einen Song der amerikanischen Sängerin Anastacia übernehmen.

THY ART IS MURDER, einer der australischen Exportschlager, feiert derzeit das 10-jährige Jubiläum ihres bahnbrechenden Albums "Hate". Morgen wird die Band den letzten Termin ihrer US-Tournee in Patchogue, NY, spielen. Die nächste Station ihrer "Decade Of Hate"-Welttournee ist Europa, wo sie die Bühne mit ihren Labelkollegen FIT FOR AN AUTOPSY teilen werden.

Die sechsköpfige Band FIT FOR AN AUTOPSY aus New Jersey hat im Januar 2022 ihr sechstes Album "Oh What The Future Holds" veröffentlicht.

Mit ihrem von der Kritik hochgelobten neuen Studioalbum "Malicious Intent" haben MALEVOLENCE ihren Platz als eines der Schwergewichte des zeitgenössischen Metals gefestigt. Die aufstrebenden britischen Stars sind nun auf dem Weg, die Welt zu erobern, und haben bereits das Publikum auf Festivals wie dem Download Festival, dem Bloodstock Festival, dem Knotfest Germany und dem Bring Me The Horizon Malta Weekender umgehauen, nicht zu vergessen eine riesige UK-Arena-Tour mit ARCHITECTS und SLEEP TOKEN sowie Termine auf dem EU-Festland mit LAMB OF GOD.

Companion piece to O Morto's album »Dans la Gorge d'un Monstre«. The diaristic approach goes deeper where field recordings and fragments of memory take center stage , O Morto expands his LP masterpiece to a very direct and free-flowing tape. Also based on a number of field recordings taken during a life-changing trip to Morocco that felt like a fever dream, ‘Iffrits Habitent‘ is the perfect companion piece with a more impressionistic and unadulterated account of the same travel that could well be this side of the mirror. Then again, maybe he never made it from the other side. Who’s to know?

As its now tradition we start the year with yet another fluid album from Portuguese pianist and composer Tiago Sousa.

Presenting now the second volume of his ongoing series »Organic Music Tapes«, Tiago now adds the electric organ to his trademark piano compositions, broadening his palette of sounds into an even more fluid and organic world with references to American minimalism of the 60’s, in particular Terry Riley and Steve Reich’s influence both looms heavily over these pieces

The piano still takes centre stage here but the organ opens both sides of the album like a statement of intention… the compositions take a nebulae type state, floating eternally over stars and planets, with their indefinite and indeterminate contours, never settling and never leaving.

Music as organic matter, like water, sand, stars or nebulae. Tiago translates complex patterns into transcendental experiences to our ears whilst cementing further his place as one of the most distinct voices to emerge out of the modern wellspring of piano driven minimalism.

If you are a death metal fan, GRACELESS shouldn’t need an introduction. Three full lengths and two split EPs have granted the Dutch ensemble a respectable reputation across the globe. Closer to home, the four piece has played countless live shows since their 2016 inception. The rock solid line up -unchanged since day one- has delivered ferocious, high energy live performances at Eindhoven Metal Meeting, Into the Grave, Party San Metal Open Air, Ruhrpott Metal Meeting, Stonehenge, SDF2021 and many more festivals and clubs. Joining forces with LISTENABLE RECORDS in 2023 is the next thundering milestone for GRACELESS. Tirelessly working on their fourth full-length, the next chapter for GRACELESS will be another step deeper into the abyss that started with Shadowlands (2018), via Where Vultures Know Your Name (2020), to Chants from Purgatory (2022). For fans of DEATH, ASPHYX, GOREFEST, BOLT THROWER, AMON AMARTH, BLOODBATH

Repress!

Exceptional debut album of Military Space Music and / or Fluxus Techno rave drills from the inimitable, acronymic duo for Diagonal. RIYL Belgian Techno, SuperCollider, Powell, Lorenzo Senni,
the bleep test At long last N.M.O. execute their crazed debut album for Diagonal, distilling the playful calisthenics of their laptop and drum kit live show in a totally unique manner that somehow deconstructs and alliterates tracky acid techno with avant no-wave rock, computer music and the kind of snare-
driven tattoos coming out of Portugal's Príncipe label. Best just call it Military Space Music - Cleft as two corresponding but individual sides entitled Nordic Mediterranean Organisation
& Numerous Miscommunications Occur, it finds the Romantic Viking duo ratcheting the psychotomimetic intensity of their previous tape and trio of 12"s for Anòmia, The Death of Rave
and Where To Now according to their central mantra of As Strict As Possible, resulting in 5 alarming, powerful dancefloor raids intersected by infuriating locked grooves, or Neoliberal
Madness Offering #1-4, plus a series of barking trained Unit drills.
The razor sharp and raucous results don't sit comfortably in any pre-ordained category, preferring to scythe their own route thru the time-flattened field of contemporary music by employing
the fundamentals of physical pressure and precise psychoacoustic frequencies in a disciplined pursuit of new, syncretic sensations that toy with rave convention and serve to demystify notions of aerobic mysticism.
Nose to tail, they spell out their ideas with playfully pedantic attention to detail, whether physically making you get up to nudge the needle from its pervasive locked groove, putting you thru your
paces in their German Trained Unit challenges, or simply driving you to delirium in the album's full blown dance tracks.
Cut almost a side-a-piece for optimal intensity, those five dance cuts veer from the clashing sharp and wet, tight-but-distended dichotomies of RIYL Roma to the ploughing pneu-beta bass drum
and giddy top end tickle of New Bulgaria on the Nordic Mediterranean Organisation plate, to take
in the scuffling, compartmented swerve and teeth-chattering acid of Armchair Evader and what

Analog Africa is back with another of its eye-opening and mind-altering trips into musical wonderment here as the 20+ year-old label digs deep into the Andean city of Quito. It's the Ecuadorian capital and home to the music which maykes up this vital collection and which owes so much to Polibio Mayorga.

He spent much of his musical career trying to - and succeeding in - modernise the ancient rhythms of his region, namely Huaynito, Sanjuanito and Albazo. He did so with cutting-edge - at the time - electronic equipment and a trusty Moog and the result of his effort was that he is now regarded as a pioneer of tropical psychedelia. Dig in deep to hear how that happened across these superb 16 sounds.

The Alpha Transmissions EP is a new project from Dubbyman that has been long in the making. The always classy producer brings his trademark deep house sound to Inner Shift Music with label owners Brad P and Rai Scott getting in on the action. 'Transmission #1' is smooth, serene and dubbed out deep house with cosmic energy, while 'In The Space (Song For Joey)' is a more loose-limbed groove peppered with gentle percussion.'Transmission #2' first comes as a Man-Drake edit that is widescreen and drenched in prog rock guitar licks and as a Rai Scott remix that is more rolling and heady. A typically versatile package from Dubbyman.

Detroit's Rebecca Goldberg, aka 313 Acid Queen, releases 5 techno bangers incl. Mark Broom remix on Phoq U.

Phoq U Phonogrammen, the rebellious U-TRAX sublabel, returns after 26 years with its eight release, produced and manufactured in Detroit. Detroit native Rebecca Goldberg, who has previously released music and performed live under her 313 Acid Queen alias, will present her brand new People Mover EP at the Detroit Movement festival, on May 26, 2023.

The EP features 5 dancefloor fillers, including the Detroit-style remix by Mark Broom of the opening track Automated. The EP is inspired by transportation, industry and travel, as well as the city of Detroit of course, paying homage to the original minimal techno music and the evolution of technology and industry.

All tracks are live jams, recorded in one take on all hardware instruments. Rebecca tries to do as little post-work as possible, with just a little bit of final arrangement. Her work often incorporates field recorded sounds, and for this EP she used samples recorded while riding on the Detroit People Mover itself, the elevated automated light rail system in downtown Detroit. Goldberg started a sound walk group called Detroit Frequency and the recordings were taken on during the first event last summer.

The EP kicks off with the fast-paced Automated, that echoes the hypnotic minimal techno sound of Robert Hood. Mark Broom added an extra dose of 909 funk in his Mark Broom remix, which provides the track with even more pumping rhythms and making it sound even more 'classic Detroit'.

The B-side opens with Elevated, that features industrial-ish DPM sounds on a bed of pure acid, as if Goldberg wants us to remember why she is named the 313 Acid Queen.
Staying On meanwhile, puts a repeating DPM announcer's voice central stage, making it a fascinating piece of minimal techno. The closing track Linear Motion creates a dark atmosphere, with eerie, down-pitched DPM sounds that makes this a spooky techno trip that we believe many people will love.

Original release date: May 5, 1980

An album made by Kim Chang-wan in place of his two younger brothers who were serving in the military, together with the project ‘Broken Spaceship’ composed of session musicians such as Park Dong-ryul (bass), Yu Ji-yeon (acoustic guitar, harmonica), and Kim Yeong-guk (drums). It is the same work as the beginning of Kim Chang-wan's 'Sanullim Alone', and the energetic rock sound and lyrical folk coexist in harmony.

Including Red Balloon with an attractive psychedelic fuzz tone guitar and Please Wait A Little Longer funky, as well as Long Lost Memories Will Come To My Mind Vaguely Through The Window, Still Life with Sunflowers, and A Teacup, Sanullim's best works of the mid-year period It contains beautiful songs that are faint, cozy, and beautiful.

After a first release by a member of the crew, Love Reaction is proud and humbled to welcome on the label one of Geneva’s rising stars and longtime friend, Mirlaqi.

With this record, he offers a simple yet poetic groove : Disco and balearic in their broadest sense, tinged with his signature touch of Spatial House.

A very personal project, produced in collaboration with family and friends. He has known the instrumentalists on bassoon and sax since high school. The singer, with her spellbound voice, is now a recurring partner, featured on every record he released. He also brought his cousin into the equation, to help him on his journey back to his origins, as she translated parts
of the texts to Armenian.

A-side includes the most organic tracks of the record, that, while still suited to make you dance, will also fit perfectly as a soundtrack to end a shiny afternoon in front of the ocean. On the flip, the clubbier tracks : An original production, This Color, which is the track that inspired the cover art, and a remix by parisian italo-maestro LeonxLeon. Expect the most infectious grooves the balearic spectrum could offer and prepare to dance, not on the beach this time, but rather in orbit, on the red sand of Mars

William Penn Fyve aka William Penn & His Pals were a regular presence on the early Bay Area scene, opening for the likes of Jefferson Airplane, Paul Revere & the Raiders and Them. Their line–up included lead singer / organist Gregg Rolie, later of Santana / Journey. In 1966 they recorded their lone single, "Swami" / “Blow My Mind”, for the Thunderbird label.

The A-side (written by guitar player Mike Shapiro and famous for being included on “Pebbles-The Acid Gallery”) is early acid-punk with fuzzed-out raga guitars and hilarious lyrics about a guru. The flipside is an energetic garage-punk number with swirling Vox organ and a fuzz rave up á la Yardbirds.

Highly anticipated new album (the 11th) of the African Reggae Voice. Militant and sharp in his texts, powerful and unstoppable in his groove.

Recorded between Abidjan, Bamako and Paris. Co-produced by jamaican veteran Tyrone Downie (Bob Marley), and French musicians Guillaume Stepper (Sly & Robbie) and Mael Donion (City Kay).

With featurings by Amadou & Mariam, Grand Corps Malade, Winston McAnuff and Dub Inc. Sung in french, english, dioula and bambara. One of this year World Music major piece.

Malmo-based producer Sacred Grove takes care of the second release of French label Parodia.

Taking his name from an important feature of mythological landscapes, Sacred grove music is like a hole in our dimension, a moment of levitation where everything stops for a minute.
« Through the Mire » is a fantastic 4 track EP of untouchable, fascinating sounds of dance music, taking influences in early deep house and twisting it in a very unique way.

Enter the trip with the EP opener « Dusk » , a mysterious track full of hazy pads and stabs blending together to make you enter into an imaginary forest. Subtle and classy, « Dawn » is the second track of the record, 9 minutes of introspective sounds yet dancable, with an unstoppable groove. If you're not already tripping, your mind is a about to hallucinate with the third track Neusea (Delay mix), the most impactful track of the record, with a laidback peak time roller keeping the same cinematic atmosphere as the other tracks.

Last but not least, B2 track « Loverz » is like reaching the Sacred Grove that you were looking for when you entered this forest, and finally your mind is going in a total trance.

Holly Johnson is proud to present a 35th anniversary reissue of his 1989 number one debut solo album.

Blast will be available on limited edition red vinyl (Pressing of 1500 copies worldwide), and even more limited red cassette, the cassette will come packed in a signed card wallet.

Here’s what Holly calls "Blast in a Nutshell” - "My exploding red hot vinyl, from the fag end of the nineteen eighties. It's not purple, but it's mine all mine. Thirty five years in the same house, the vibes are still here. Still alive in 2023.”\

Prepare to blast off once more.

Indonesian City Sound: Panbers’ Psychedelic Rock and Funk 1971-1974

The Pandjaitan Brothers or Panbers came from the North Sumatra minority Christian group, the Bataks, whose ancestry traces back to an island at the center of Lake Toba. As a minority group within Indonesia's Muslim-dominated society, this ethnic minority has produced top military generals, celebrity lawyers, and a legion of pop and rock superstars.

Suffice to say, some of the biggest names in the country's pop history were Bataks. Panbers fit the bill perfectly.

The band's strong Christianity belief looms heavily in the music they produce. The prominent use of the Hammond organ in their early materials is evocative of church music the band members have been around in their whole life. Bandleader Benny Pandjaitan's fills his characteristic wail with existential dread, with many utterances of the word "mengapa" (why).

Guilt is another central theme Pandjaitan repeatedly comes back to in his lyrics. But they balance it with joy, on songs such as "Come on You Dance" "Let's Dance Together" or "Haai" (a play on the word high), where references to recreational substances are plentiful.

Although they modeled themselves after the era's rock bands Beatles and fellow countrymen Koes Plus, Panbers had a unique aversion to the electric guitar. In "Jakarta City Sound," a fiery three-note guitar solo is laid so far down in the mix that they are barely audible. In "Haai" they modify the guitar to sound like a jungle instrument playing traditional North Sumatran music. In "Rock and the Sea," arguably their most well-known song globally, they decided to ditch electric guitar altogether and replace it with a sitar.

In the absence of an electric guitar, Panbers had to rely on Doan's inventive bass playing and Asido's drum works to do the heavy lifting - and boy, do they deliver (Their 1971 debut "Volume 1" saw plenty of drum breaks). In this compilation, listeners will hear recordings from Panbers' fertile four-year period - a time that produced in some of the grooviest and hardest-sounding psychedelic music in Indonesia's rock history.

For those uninitiated on the glory Panbers, consider this compilation an introduction to some of earliest and heaviest rock sound to come out of Indonesia.

There is a wealth of talent on show on the third EP from the Fusion Sequence label which has put together this six-track deep house sizzler. The Variable Club' 'Biorhythms' is perfectly warm and dynamic for cosy backroom moments and Alpine DJ then brings an old school piano feel to 'Pepe Nony' before A Vision Of Panorama zones you out on lush chords and reverential keys on 'Kissing The Sun.' The flipside offers the more dark and heads-down 'Many Stories' while the blissed-out and feel-good grooves return with Common Mode's 'Bassface.' Body Corp shuts down with the slower, seductive sounds of 'Take It Or Leave It' which rounds out a top-class EP.

First time on wax for P.0.3 and BLUMET!!!

Printed sleeve

A1 TRASHIN is a POWERFUL 194 bpm melodic hardfloor banger, old school off beat bass, full of mini breaks and surprises with a stomping kick!! FIRST DEBUT FOR P.0.3 ON VINYL!!!

A2 ANTRAX is a mega TRIBE CORE track with an impressing solid kick and mental melodies. Slowing down a bit to 165 bpm, driving off beat bass and ghosty effects, nice mixing tool!! FIRST DEBUT FOR P.0.3 ON VINYL ALSO!!!

B1 BLUE ANGER is the very first debut on vinyl for BLUMET, 2013 RS7000 drum machine remake. The track recall IVAR THE BONELESS war cry saying "you cannot kill me". Mad 210 bpm angry tune to make the crowd gabber kick the air! Edit and mix from STITCH!

B2 THE NAME OF DOVA is an old school hardfloor unreleased banger at 180 bpm from the infamous UZI. Stomping and deep first part with fidget recalls and digi sound effects, second part goes melodic on a Zelda Epic theme sound like, very cool!

MASTER from the very talented producer and Master engineer 1NC1N.

GRAPHICS from STITCH!!

Repress!

Funkiwala Records presents the third in the series of "Lokkhi Terra meets"albums, with the London fusionistas creating another unique sound-clash, this time with ex-Fela Kuti keyboardist and legendary UK Afro-beat ambassador Dele Sosimi, and members of his critically acclaimed Afro-beat Orchestra.

This particular collaboration has been bubbling away for a few years now, teasing audience expectations with a handful of sold out shows each year in between both bands busy schedules.
Featuring the two pianos of Kishon Khan and Dele Sosimi – Cuban percussionists/vocalists Geraldo De Armas (Yoruba Andabo), Oreste Noda (Ariwo), Javier Camilo (Ibrahim Ferrer) - a horn section led by Justin Thurgur (Bellowhead) featuring Yelfris Valdes (Sierra Maestra) and Graeme Flowers (Kyle Eastwood) to name a few – this is an All-star cast.

Kishon Khan's Lokkhi Terra have over a number of years now been quietly establishing themselves as one of London's more unusual heavyweight outfits, described as "Stunning Headliners… A majestic multi-cultural blend of sounds… effortlessly builds bridges between rolling Indian raga rhythms, Afro-Cuban grooves, Acid Jazz/funk and free flowing improvisation" (Timeout London). Included amongst the band members are London's top Cuban musicians, adding their infectious rich musical history to the city's melting pot.
When the band wanted to explore Cuban links with another of their favourite traditions, Afrobeat, who better to bring in then one of the Afrobeat originators – maestro Dele Sosimi – "Sosimi creates some of the most bewitching grooves in modern African music" E Jazz News.
Bringing together two Yoruba speaking musics - with different accents, from different sides of the Atlantic - Havana meets Lagos in London – A Cuban-Afrobeat-Experience. CUBAFROBEAT.

All About Jazz 4star review

A younger version of London's Grand Union Orchestra, founded by world-jazz pioneer Tony Haynes in 1982, Lokkhi Terra was put together by keyboard player Kishon Khan in 2005. Both ensembles have made a specialism of jazz / South Asian fusion, with Lokkhi Terra also giving as much attention to music from Cuba, where Bangladeshi-born, London-based Khan lived for a while in the early 2000s.

Cubafrobeat, as the title foretells, is a blend of Cuban dance music and Nigerian / Yoruban Afrobeat—a fusion rendered seamless by the synergies existing between Afro-Cuban and Yoruban music, language and mythology. The album is Lokkhi Terra's third and partners the band with the keyboard player and vocalist Dele Sosimi .

A young-going-on-child-prodigy member of Fela Kuti's Egypt 80, Sosimi went on to become musical director of Femi Kuti's Positive Force, before relocating to London and setting up Dele Sosimi's Afrobeat Orchestra, the finest Afrobeat band outside Nigeria, bar none, now with a string of consistently engaging albums under its belt. Cubafrobeat features Sosimi as lead vocalist on all four tracks, and on Fender Rhodes on two of them. His singing plays a prominent role in the Afrobeat Orchestra, but, such is the whirlwind impact of the band in full instrumental flight, that Sosimi is often thought of first and foremost for his keyboard and arranging talents. That may change by the time 2018 is over. Cubafrobeat is the third album in as many months to feature Sosimi as guest vocalist, spotlighting the gravitas, air of mystery, intimacy and ferocity his voice can bring to an occasion.

The first of these albums was the genre-bending spiritual-jazz band Emanative's Earth (Jazzman). One of the stand-out tracks, "Ìyáàmi," features Sosimi making obeisance to the titular Mother Goddesses of the Yoruba spirit worlds. His raw and intense invocations carry the track for nine mesmerising minutes. Otherwordly is not the half of it. Next up was dub / reggae / jazz band Soothsayers' Tradition (Wah Wah 45s), which featured Sosimi as lead vocalist on the compelling "Sleepwalking (Black Man's Cry)." Earth and Tradition are both outstanding albums and have previously been reviewed here.

Cubafrobeat is a total stonking blinder, too. It is an effectively nuanced affair, opening with the fiery "Afro Sambroso" and closing with the relatively reflective "Rumbafro." Sosimi's vocals light up the music, as do the several solos from trumpeters Graeme Flowers and Yelfris Valdes Espinosa and trombonist Justin Thurgur (a member of both Lokkhi Terra and the Afrobeat Orchestra). Sosimi and Kishon Khan's intertwining Fender Rhodes solos on "Cubafro" are also a delight, as is the drum and percussion section throughout.

The sound of summer, for sure, Cubafrobeat has enough depth and variety to make it something for all seasons.

Songlines 4star review

Lokkhi Terra are one of London's most authentic groups. They are a Latin-flavoured collective whose keyboard player and bandleader Kishon Khan segues from percussive montunos to complex Bengali rhythms and back, with jazz chops sparking funky and outward-looking fusions. Their collaboration with Dele Sosimi, Britain's foremost Afrobeat ambassador, has been bubbling for a while; here four tracks at ten minutes see musical conversations that never lose their sense of flow. An extensive line-up of stellar players, including trumpeter Yelfris Valdés, conguero Oreste Noda and trombonist Justin Thurgur, highlights the genre-crossing potential of world traditions. Opener 'Afro Sambroso' showcases batá drums from Gerardo de Armas Sarria before the track links Cuban grooves with Afrobeat. 'Timbafro' crackles and sways via Khan's organ, Sosimi's vocals and Oscar Martinez's timbales. 'Cubafro' features dazzling interplay between Khan, Sosimi and Javier Camillo's Spanish-language vocals. 'Rumbafro' is all rumba choruses, Yoruba vocals and Afrobeat horns. Rooted in their sources, but with musical threads intertwining, separating and reconfiguring – with grooves at a premium – this is a fusion lover's dream

"Almost two years after the multi-charted and heavily played 'Player's Paradise' EP, Lex returns to B2 Recordings, marking the milestone 10th release for Bengoa's rising Athens - based imprint.

The Greek artist has had quite a joyride since then, with releases on Delusions Of Grandeur, Samosa Records and his debut LP on Leng, which brought worldwide attention. Here we see him deliver his latest work, 'Fast Jags' - an unmistakable piece of his trademark nu-disco-meets-house excellence. Popping organic percussion, shaking funk-infused bass lines and an amalgamation of wandering trippy synthesisers and cinematic strings.

For this anniversary release, B2 Recordings could have no other than the man of the moment, prolific DJ and producer Felipe Gordon on remix duties! The highly acclaimed Colombian musician delivers an outstanding ten-minute journey into deep, funk & heart warming house music, playing along with jazz-tinged bass lines and intricately intertwined keys, strings and synth licks.

Rounding things up, label-head Bengoa adds a bit of rawness to the original, effectively bringing up natural percussion and trippy synth stabs, creating a club-ready house roller that you never want to end.

A perfect package for the anniversary tenth release by B2 Recordings.

Baldini Records is a brand new edit-centric imprint out of Naples inspired, you might guess correctly, by the legendary DJ, producer and cosmic house innovator Alessandro Baldini. It kicks off with two disco versions that he would surely be happy to reach for. They come from Alex From Utopia - he is a party impresario and a so-called DJ's DJ. Both of these have already been getting plenty of high-profile plays from the likes of Lovefingers, Jonny Rock and Ivan Smagge. 'Story Of Devotion' has a proto-deep house feel to it with nice analogue drums and a silky vocal, while 'Ask Ives' is slower and more psyched out.

Silicon Scally, the alias of electronic music producer Carl Finlow, released his critically acclaimed album 'Mr Machine' in 2002 on SCSI-AV. The album was a masterful blend of electro and sci-fi soundscapes, showcasing Finlow's unique style and production prowess, which took the listener on a journey through a futuristic world of machines and technology. It ranks as one of the finest electro records of the early noughties. Fast-forward to 2023 and Sync 24's Cultivated Electronics label is proud to present 'Mr Machine PT 2'. Like its predecessor, the new album is filled with intricate synth melodies, driving rhythms, and pulsating basslines, all perfectly balanced to create an immersive listening experience. 'Mr Machine PT 2' once again showcases Finlow's ability to not only create relentless beats for the dancefloor but also dynamic soundscapes that transport the listener to another world. Created using a mixture of both old analog gear and very modern plugins, both albums were written with a very strong emphasis on the machine aesthetic, reflecting the cutting edge of what was available at their respective times. Futuristic and timeless. The album will be released on triple-pack vinyl and digitally.

Finland's DJ Lifegoals, Forehard and Larry Neverheard debut on Cold Blow with a braindance-flavoured split four-tracker, aptly titled Braindancing. Arguably one of the most interesting, yet humblest, labels out there, Cold Blow is at it again with a candidate for a release of the year!

The two tracks from Helsinki's clubland stalwart, DJ Lifegoals, take the baton from Braindance's golden era and make it his own while paying homage to the tradition. Distorted, yet emotional, catchy yet challenging. On the flipside Inceptum founder Forehard (aka Ruusuvuori) partners up with the enigmatic Larry Neverheard for a mystifying, intricate, but (brain)dancefloor-ready double bill. Use your brain, don't sleep!

For the last twenty years, Sami Yenigun has DJed, thrown parties, released records and built community in Washington DC. He lived in and helped produce the underground event space Subterranean A. He's a co-founder of the DC mega party ROAM. He started the label 1432 R alongside Joyce Lim and Dawit Eklund. He's made music for Future Times, World Building, Rhythm Section, and Ghostly International. He’s produced for Dreamcastmoe and jammed with the Lifted crew.

Sami's also an award-winning journalist and Executive Producer of the largest afternoon news broadcast in radio, All Things Considered. He's won a Peabody, a Murrow, A World Press Photo Award and a National Press Club Award for his work, which includes creating a show with the legendary DJs Stretch and Bobbito, serving as editor of NPR's podcast about race, Code Switch, and covering elections, epidemics, insurrections, and of course, music.

It’s a lot, but whether finding a flute that fits, an extra battery for his Marantz, or the energy to make beats after a week of telling stories, Sami's enthusiasm for life, and the people in it, make it work.

The latest record, Elevate, is a testament to that enthusiasm. Four tracks that crackle and pulse with the same electricity that runs through all of what he makes. Just as Sami's interests in his personal and professional life are ranging, so are his tastes for club fare, and you can hear it on this release.

Four views of mother nature: a forest and a mountain range; a wicked city and a well. Traced from house and techno, through a lens and back.

It's a body of work that continues to branch and build. Elevate is a step into Sami's next chapter: Where flutes, stories, queerness and truth curve together.

Mancunian pianist and producer Matt Wilde prepares to release his debut album 'Hello World' via Band on the Wall Recordings. With a slew of hotly tipped projects released over the past two years via Root Records & Inner Ocean Records- Matt has been steadily gaining support from the likes of Jamie Cullum, Gilles Peterson, Jazz FM & many more. With his name firmly cemented as one to watch in the Jazz / Beats landscape, 'Hello World' promises to be his most expansive body of work to date.

'Hello World' is an audio catalogue of personal experiences, thoughts and feelings, shared with honesty and curiosity for the human condition. Matt crafts emotive and uplifting compositions denoting a tender illustration of the human experience, finding and celebrating the simple and beautiful moments of life.

Austere Recordings and LAAK are back with a limited 200 copy, hand stamped release. Expect the usual deepness!