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In an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band’s alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honours the profound legacy of their departed founders.

Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band’s musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums.

Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra’s" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s—a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound.

The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth’s two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel’s credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel’s father, British jazz-funk royalty Jean Paul “Bluey” Maunick, of Incognito, to play guitar on a new version of Azymuth’s eighties classic “Last Summer In Rio”, in tribute to the song’s composer, José Roberto Bertrami. Equally, “Samba Pro Mamao” is a new composition dedicated to Azymuth’s beloved original drummer, Ivan “Mamão” Conti.

Credits:

Alex Malheiros - Bass, Acoustic Guitar & Vocals: 1,2, 3, 4, 5, 6, 7, 8, 9, 10
Kiko Continentino - Keyboards, Organ, Vocoder & Vocals: 2, 3, 4, 5, 6, 7, 8, 9, 10
Renato Massa - Drums & Vocals: : 2, 3, 4, 5, 6, 8, 9, 10
Ian Moreira - Percussion: 1, 2, 3, 4, 5, 6, 8, 9, 10
Sidinho Moreira - Percussion: 1, 2, 3, 4, 5, 7, 8, 9, 10
Dudu Viana - Keyboards & Vocals: 1
Victor Bertrami - Drums: 1
Mangueirinha - Repinique: 3
Jean Paul ‘Bluey’ Maunick - Electric Guitar: 5
Jose Carlos Bigorna - Soprano Sax: 9
Daniel Maunick: Additional Percussion, Synths & EFX: 1, 2, 3, 4, 5, 6, 7, 8, 9

Produced, Engineered, Mixed & Arranged by Daniel Maunick
Co-Produced & Arranged by Alex Malheiros
Executive Producer: Joe Davis


Recorded by:
Daniel Maunick & Leonardo Vieira @ Estúdio Nos Trilhos, Santa Teresa, Rio, Brazil
Daniel Maunick & Amadeu Signorelli @ Sigstudio, Niterói, Rio, Brazil
Daniel Maunick & Alex Malheiros @ Estúdio Basslab, Piratininga, Rio, Brazil
Mixed by Daniel Maunick @ The Sugar Shack, Carluke, Scotland


Artwork & Design: Tyler Askew

*all original recordings from mid 90s Estonian released cassettes. Fascinating interpretations of the UK breakbeat and Jungle sounds recorded when the world felt like a much bigger place.

Since hearing the first breakbeats via the Finnish radio nightly shows introducing the burgeoning UK scene, Virko Veskoja, later head figure of Lu:k, was completely swept away by this new technological language that sounded like machines trying to initiate contact with people. The fluttering rhythm patterns, strings and vocal lines haunting the pathways of the infinite network. Like hip hop taken over by Skynet.

Reimagining it all in mid-90’s Estonia, a fresh and dirt-poor republic newly welcomed to the family of sovereign states on the outskirts of Eastern Europe, was challenging, to say the least. Finally, with the help of entry level music programs, custom-made soundcards and self-built computers by the other Lu:k-head Tõnis Valk, Lu:k took the first tentative steps in the history of Estonian jungle.

Eight Lu:k cuts have been compiled into a handy selection, a true sign of the times when uncertainty came with certain hope and optimism – new territories to chart, new frontiers to conquer. A time of innocence captured so sublimely in Lu:k’s music.

The compilation starts with menacing orchestration that sounds like the birth of a civilization, like in „2001: A Space Odyssey“, or the arrival of Godzilla, only to give way to sweeeet strings and the inimitable Minnie Riperton in “Lovin U”, combining all the essential elements of Lu:k in a track that has remained uncorroded by time since its inception in 1994.

The following “Demo 3” is its antithesis – fast and nervous, a harbinger of the darker days of neurofunk and techstep ahead. More in line with the social realities of the time, when something (or someone) could materialise out of thin air and attack you just as violently as those beats here.

“La:v” was Lu:k’s signature track throughout their brief career that went on only for a few years, 1994-1997. Lifted to heaven’s by Petula Clarks’s wonderful vocals, it perfectly captures the pure essence of creation. “I made it in my bedroom. Something like that just came out. Sorry”, says Virko apologetically.

From the themes of love we are led towards darker scenarios again with “Drunk-Drive”, a more vengeful cut reminiscent of early Ram Records’ nocturnal dangers, skylines shaped by basslines. Previously only available on the uber-rare “Raadiomaja valvelauas” CD compilation from 2005.

“In the Limelight” is lifted from their second album “Dreams in Drums” from 1996 (only released on cassette), and if it’s meant to address their new-found underground celebrity status in Estonia, there is surprisingly little elation here – the track rather consists of introspective strings and beats that sound almost melancholic.

Out of the remaining three tracks, “Proov2mix” and “Kadunud leitud” are the result of a treasure hunt amongst the old, obsolete harddrives – little nuggets that were condemned to obscurity until now. Between them, another vocal-led cut “010”, a non-album track only featured on two comps until now, is a strong reminder of Lu:k’s prodigious ability to handle vocal lines and morph them together with their own weaving synthetic melodies, strong pads and commanding beats.

Lu:k’s music has been largely unavailable for the better part of this century, with original tapes and CD’s changing hands for a small fortune. This vinyl release couldn’t come at a better time, bringing a seminal chapter of Estonian dance music’s mythical history to light again, both for the old-school acolytes and new converts.

All music by Virko Veskoja

Drumcode veteran Oscar L joins forces with Metodi Hristov, a newer recruit to Adam Beyer’s revered techno label, for their collab two-track EP ‘Gravity’. Madrid’s techno/tech house maestro Oscar L has a long association with Beyer’s twin labels Drumcode (‘Again’ LP, 2023, + performing at DC events) and Truesoul inc. solo EP ‘Vulture’ (2022), Dosem collab ‘Aircargo’ EP (2023), ‘Yapper’ w. Max Styler (2024). As well as Adam Beyer, Oscar’s had support from Richie Hawtin, Nicole Moudaber, Joseph Capriati… and also released on Knee Deep In Sound, Stereo Productions, We Are The Brave et al. Bulgaria-based Metodi Hristov brought his unique techno sounds to Drumcode last year, with his debut DC 2-track EP ‘Build To Destroy’. Both tracks, title track and ‘Flatline’, were included in his Sept 2024 Drumcode Radio Studio Mix live from Sofia. With support including Carl Cox and Enrico Sangiuliano, Metodi’s career is swiftly up and coming. ‘Gravity’: the title track hurls itself into the fray with fast, heavy techno beats, reverb-rich growly hoovers, while a contrasting sweetly melodic chopped and processed female vocal holds its own against a dystopian dialogue between two sinister machines in dark, distorted, industrial juddering synth. There’s a lot going on, dark, powerful, and dance-demanding. ‘Up & Down’: full-on attack from the first nanosecond, with very fast beats, layers of percussion and a dark male voice intoning the title riff. An insistent, reverbing, ‘hammered strings’ synth melody competes with a melodic second voice, high and sweet bringing light to very dark shade. ‘D’you feel it now…’, you surely will.

When you’re running a label, a demo occasionally comes across your desk that makes you reconsider everything you thought your label was all about. For Balmat, such was the case with this stunning album from Stephen Vitiello, Brendan Canty, and Hahn Rowe. It sounds like nothing we’ve released so far—and that very otherness opened up a whole new world of possibilities for us.

Fans of ambient, experimental electronic music, and sound art will be familiar with Vitiello, a New York native, long based in Virginia, who has collaborated with a cross-generational list of greats: Taylor Deupree, Steve Roden, Lawrence English, Tetsu Inoue, Nam June Paik, Ryuichi Sakamoto, Pauline Oliveros, and many more. On labels like 12k, Room40, and Sub Rosa, he has explored a wide range of minimalism, microsound, lowercase, ambient, improv, and other styles. But this album is something different. It may begin in ambient-adjacent territory, but it quickly veers off, and it just keeps zigzagging, taking on elements of krautrock, post-punk, dub, and the groove-heavy interplay of groups like Natural Information Society and 75 Dollar Bill.

This stylistic turn is thanks in large part to Vitiello’s choice of collaborators. “We’re coming from three different schools,” Vitiello says: “sound art, art rock, and punk rock.”

Active since the early 1980s, Rowe—a violinist, guitarist, and producer/engineer—has played with, or manned the boards for, a frankly jaw-dropping list of musicians: Herbie Hancock, Gil Scott-Heron, the Last Poets, Roy Ayers, John Zorn, Glenn Branca, Swans, Live Skull, Brian Eno, David Byrne, Anohni, R.E.M., Yoko Ono, and many more. But he might be most closely associated with Hugo Largo, a one-of-a-kind New York quartet—two basses, vocals, and Rowe’s violin—that in the late 1980s helped lay the groundwork for what would eventually become known as post-rock.

Canty, of course, is the legendary drummer of Fugazi, the visionary DC post-hardcore group, as well as Rites of Spring before them, and, currently, the Messthetics, a Dischord-signed instrumental trio with guitarist Anthony Pirog and Fugazi bassist Joe Lally.

Vitiello’s trio first collaborated on First, a 17-minute piece released on the Longform Editions label in 2023. Second picks up where the freeform drift of First left off, channeling the trio’s exploratory energies into more intentionally structured tracks and—in a real first for Balmat—some almost shockingly muscular grooves. “Sometimes my projects are more conceptually driven,” Vitiello says, “but I think this was more musically geared. I just wanted to open up the references and bring in an incredible drummer, bring in some melodies, and I’m sort of the center.” But his collaborators, he stresses, are “vastly creative in making anything I might suggest better.”

Like its predecessor, Second took shape in phases, shifting between improvisation and collage. Vitiello laid down the skeleton of the music at home, sketching out initial ideas on Rhodes keyboard and acoustic and electric guitar; he then fed the parts through samplers and his modular system, recording 10- or 20-minute jams. Once he had edited them into more structured forms, he hit the studio with Canty, who added not just drums but also bass and piano; finally, Vitiello took the results of those sessions to Rowe, who played violin, viola, electric bass, and 12-string acoustic and bowed electric guitar, and assisted in some of the final structuring and mixdown.

A few more surprises along the way: Reanimator’s Don Godwin, the studio engineer where Vitiello recorded with Canty, contributed what he calls “resonant dustpan”; and none other than Animal Collective’s Geologist, who just happened to be in the studio that day, sits in on hurdy gurdy on “Mrphgtrs1,” the album’s gorgeous, stunningly atmospheric drone closer. “I love these chance encounters,” Vitiello says. “Somebody I admire, a group I admire—that was an unexpected gift.”

An unexpected gift is a great way of describing Second as a whole: three veteran musicians venturing outside their usual zones and finding a new collaborative language together. The results can’t be neatly slotted into any given genre; they belong not to any given category, but to the spirit of conversation itself.

Introducing the second release under the Statica imprint “MyCn18: Engraved Hourglass”

STATICA002 comes from Berlin-based artist Johannes Mai aka John Spring. John's productions have gained legendary notoriety over the past decade with his early releases revered for their timeless sound and experimental edge, whilst always keeping to a ritual of dancefloor compatibility. An influential artist who pushed the boundaries of minimalism and helped lay the foundations that have sculpted the sound of the present. It's a great honour to be releasing his first EP in over 13 years with 3 never before heard tracks from the mid 00’s.

“Train Ride” is an energetic A1 with pacey drums and a marching topline, while the A2 “Ravebehave” delves deep into spring reverb mastery and wavering synths. The B1 “Melodic Ten” begins with rolling percussion and uplifts with the whispers of enchanting vocals. B2 comes as a remix of Melodic Ten by Fabric resident and stand out London artist Harry McCanna aka Henry Hyde! stripping it back even further and introducing his own sinister synths, growling bass and groove-led drum patterns. It's a pleasure to have Harry featured on the release.

MyCn 18 is a young planetary nebula in the southern constellation Musca. It was discovered by Romano Coradi and Hugo Schwarz in 1991. MyCn 18's hourglass shape is produced by the expansion of a fast stellar wind within a slowly expanding cloud which is denser near its equator than its poles. The central star of the nebula is unknown.

Credits-:

A massive thank you to John Spring & Harry McCanna for their Contributions. Distributed by Deejay.de. Mastering by Justin Drake. Design and Curation by Alix

Moom Sound are delighted to present a 3 track EP of timeless Chicago house tinged tracks from the maestro Stefan Braatz; ‘Timeless Altitudes’.

Omnipresent on the Berlin scene, Stefan began DJing and producing in the 90’s, and is passionate about working in the analogue space with physical instruments – drum machines and synths – rather than computers.

Alongside friends, he organised underground parties on old demolition sites, as well as playing at legendary Berlin events like Tresor, Globus and Stellwerk.

With breakout releases on Nu Groove, King Street and Poker Flat, there are very few discerning parties that haven’t danced to Stefans beat.

“Timeless Altitudes” drops v soon on Moom Sound and it’s definitely one for the house heads.

Interdance returns for their third instalment.

On the A side representing Argentina, we introduce Vinz, a young talent, hailing from Buenos Aires underground scene. On A1 we have “ Instinto “ a kind of trance techno straight from 1992. While on A2 Transradio immerses you in its cinematographic ambience, heavy drums and acid synth lines.

On the B1 side we have Uruguayan Juan Dairecshion, crafting a more mental and trippy vision of techno, keeping the energy of the four on the floor bass drum we have rebel rebel.
 On the inside UR love, a more mysterious cut, dark vocals, crazy melodies and the classic spooky but effective heavy Detroit techno sound Juan’s trying to bring back here.

Amora Lamor is a project by Lithuanian producers Brokenchord and Munpauzn. Their debut release is a fun and ironic take on current electronic music trends. From disco to lo-fi breaks, from banging club sound to cinematic synthwave, this EP is an experiment of six fuzzed-up cuts delivered using synthesizers, guitars and drum machines.

SAISEI founder Junki Inoue continues his vital archival work uncovering the riches of Japan’s distinctive electronic music scene and bringing them to new audiences around the world.

HERO U.D.A. aka Hiroyoshi Udaka is not someone you can easily google, but he’s sure lived a life worth retelling. His story starts back in the late 80s when, inspired by the acid house emanating from the UK — during what was fondly christened the Second Summer of Love — he picked up DJing and made the move from Japan to London. Throughout the 90s he DJed at underground techno institutions like London’s The End, CLUB UK and Silver Fish, as well as at the infamous Tribal Gathering raves, periodically returning to Japan to support techno greats like Colin Dale, Mad Mike, Suburban Knight and D. Wynn on tour.

The tracks on this EP, previously unreleased except for one, were all recorded after Udaka moved back from London to Tokyo, between 2002 and 2005. Yet they sound strikingly modern, drawing on a rich range of sounds that have come back round again two decades later: broken beat, acid jazz, dub and breaks. Deceptively simple grooves are given depth by layers of textures and micro samples, for example the surface noise on ‘On The Way’ that glues together an otherwise sparse skeleton of dubby pads and body popping drums. ‘Mature Missile’, ‘So Good’ and ‘Night Driver’ employ raw broken beat templates with acid accents, whimsical melodies and vocal interjections for a playful mood. ‘Sin City’ takes a darker turn, off-key piano hits and plunging bass adding to the wonkiness. The EP closes with a wiggly vignette, ‘222AM’, reminiscent of early 00s contemporaries like Mouse On Mars. Now these hidden treasures from Udaka’s archive gain a new life on SAISEI.

———

SAISEI is a Japanese word which translates to ‘reproduction’ and ‘to play’ (as in playing records). Japanese culture is widely known for its traditional nature just as much as it is for being forward into the future and this label’s concept does justice to exactly that. Having started digging for records as early as 16 years old, Junki Inoue delved into productions from 1990s Japan to uncover these native gems. SAISEI’s core concept is to recapture and reintroduce unique pieces of Japanese electronic music onto vinyl, to an audience it never reached before as most of this music was only released in Japan.


b A2. So Good Acid Funk

Welcome to the second edition of Era Specific Noise! This release sees the debut of three talented new artists to the label - there's nothing better than a good VA. With an audible sonic influence and shared appreciation for the originality and love poured into old-school techno, ESPN002 has something for every drum machine lover out there.

We kick things off with Toecruncher's track "Turnstyle", the first of two driving pieces of dancefloor-friendly techno that make up the A side. A classic 16th note bassline, strong percussion, and just the right amount of ear candy and ephemeral pads - this work practically mixes itself into your DJ set. The next output by label head Richardson "Situational Awareness" builds off this style and adds a growling, modulated synthline, a uniqueness which ensures its memorability and slot in your bag.

The clarity in production of B1 "Occhio per occhio" by Alfa Cornae is hard to put into words. There's a mountain of percussion in this hardgroove-inspired piece and yet, everything seems to have its own place - and those squelchy breakdowns don't hurt either. Rounding off the release is "Kintsugi" - a slamming, industrial yet ethereal piece by Andrea Crestani. We personally enjoy a release that tells a story, and this track has all the hallmarks and melancholy of an EP closer.

We hope you enjoy your stay with Era Specific Noise - New school old school.

After a stunning set of releases for labels including Acid Artists In Action(Triple A), Stay Up Forever, Hydraulix and Interruption in the past few months, ACERBIC goes for broke delivering a massive triple vinyl limited edition LP on the SUF/Hydraulix collaboration label. Every track is literally a slamming floor- filler beginning with the anthem 'Acid Way Of Life', and moving through some solid techno and acid techno masterpieces that re-define the sound of both these genres. All killer, no filler, this is an LP that is crammed with peak time tracks that won't disappoint. Already road tested by label owners D.A.V.E. The Drummer and Chris Liberator we know that this LP is going to go down as a classic.

"Non Rompere" is a dark, decidedly experimental song from the disco era, a style embraced in the second half of the 70s by Amanda Lear and then in the early 80s by Italian showgirls such as Nadia Cassini, Patrizia Pellegrino, Pamela Prati, who considered disco-music the most transgressive genre of the time (which later often became ''trash''). G.Bri, namely Vanna Brosio, a seductive actress and TV presenter, follows this trend with an equally bold approach, making use of the shameless lyrics of Cristiano Malgioglio (Cristiano Facile) and the arrangement and orchestral direction of Beppe Cantarelli, one of the key figures of Italian music in the world (with over 100 million records sold). The record production of ''Non Rompere', longed for by followers for decades, nevertheless needs to be enriched. Dave Mathmos takes care of it, choosing to keep the original version intact and faithful to his style he creates two alternative versions: the ''Remix'' oriented towards High Energy, replacing the rock guitar with synthesizers that evoke the sounds of artists such as Giorgio Moroder and Patrick Cowley; the "Italo Dub", draws on the roots of Italo-Disco, highlighting the melodies of the chorus and adding another layer of melodic depth, all through the use of synthesizers (Additional instruments used: Linndrum drum machine, Roland TR-707 drum machine, Moog V - Synth, Jupiter 8V - Synth, Diva - Synth). This approach shows once again the talent of the Italian-Australian DJ in fusing and reinventing the genre, while preserving the energy and innovation, characteristics of the Italian Disco music scene of that time.

Neba Solo, whose real name is Souleymane Traoré, is a true living legend of Malian music. His voice and balafon playing are unique, instantly recognizable, and deeply cherished throughout Mali.

He gained international recognition with his iconic track CAN 2002, composed for the famous African Cup of Nations. This success opened doors to global stages, leading to tours in the United States, Asia, and Europe. Prestigious labels such as Cobalt and Secousse supported this exceptional period in the artistic journey of this musical genius.

For many years, Neba Solo has closely collaborated with Yaya Diarra, the sound engineer of the legendary Bogolan studio in Bamako. Diarra played a key role in preserving and recording the works of the balafon master from Sikasso. He was also the one who invited Dom Peter to work on a bold and resolutely modern project: an album with more electronic sounds, enriched with drum machines, offering a new artistic direction to Neba Solo’s compositions.

Dom Peter and Yaya Diarra immersed themselves in the studio to conceive and produce this album, titled TUMA DUMA. The result is a perfect alchemy, where electronic rhythms blend seamlessly with traditional percussion, redefining the richness of Malian musical heritage.

These nine tracks explore classic themes of the Mandingue repertoire while showcasing Neba Solo’s unique way of narrating both everyday life and universal stories

"Carrycroch'" is the title of the first album by the Alsatian progressive rock band WLUD. This French band is composed of Philippe Wendling on keyboards, Bernard Labroche on guitars, Gigi Untersinger on bass and Gianni Drago on drums. WLUD is the acronym of the musicians' names, W for Wendling Philippe, L for Labroche Bernard, U for Untersinger Gigi and D for Drago Gianni. All compositions are by WLUD. The original vinyl record released in 1978 was as successful abroad (notably in the USA and Japan) as in France. This record is a reissue of the original production at the time but for this reissue, a bonus track has been added on the B-side which did not exist on the original 1978 version. Another vinyl album followed in 1979 under the name “second”, also reissued in its original form.

“Second” is the title of the second album of the Alsatian group WLUD This French band is composed of Philippe Wendling on keyboards, Bernard Labroche on guitars, Gigi Untersinger on bass and Gianni Drago on drums. WLUD is the acronym of the musicians' names, W for Wendling Philippe, L for Labroche Bernard, U for Untersinger Gigi and D for Drago Gianni. All compositions are by WLUD. The original vinyl record released in 1979 was as successful abroad (notably in the USA and Japan) as in France. This record is a reissue of the original production at the time. A first album called "Carrycroch'" was released in 1978.

Manzo Edits Vol. 5 trots proudly back into the ring, tail high and hooves tapping, with four fresh cuts to leave the dancefloor gasping for hay. "Rosy" opens the stampede with groovy springtime melancholy: Manzo is lovesick, staring across the fence at a cow he just can’t forget. "Amare Moto" slinks in with sultry swagger, a slow and sexy jam built to get the hips moving. On the flip, "You Have To Cry Tonight" struts in with crisp Italo drums and more attitude than a Saturday night stallion. We close with "Bring Me", an alpine rave of cowbells and yodeling, ready for the pasture.
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Totoyov is back with a new identity and is pleased to present its fourth vinyl release, featuring four tracks by the talented Brazilian artist, and one of our label heads, Dru.

Giuliano Lomonte and the rising Romanian star Constratti complete the record with their powerful and refined touches on A2 and B2. A perfect combination of meticulously crafted drums, instruments, and groove that will keep you engaged.

“Unlikely Possibilities EP” is a manifestation of powerful moments in life that happen for a reason, when you least expect them.

The record’s artwork is created by the talented Juliette Siraj, a French artist with synesthesia—a rare condition that allows her to see colors and shapes while listening to music. Each of her paintings is a visual translation of the sounds she perceives. For this release, Juliette painted while immersing herself in the EP’s tracks, transforming the sonic experience into a unique and sensory artwork.

200 copies. No repress!

Australia's world-renowned cinematic soul outfit Surprise Chef return with new album Superb. A record that represents a change in their creative approach and turns up the heat in their music. Trading in their meticulous writing and recording techniques for a looser and less planned approach with the intentions of bringing more levity to the process, and it comes through in spades. The high caliber musicianship is still front and center, but they push their sound into a more energetic and fun place on this album. Album opener "Sleep Dreams" is the closest thing to a Surprise Chef tune one would come to expect but then lead single "Bully Ball" comes on and you get the picture that they came to kick in the door on this one. The song's gritty drums thunder through the speakers and get covered with percussion, keys, bass, and guitar chanks that stay in the pocket and bring the funk with them. The band pushes the boundaries of arrangement with tunes like "Body Slam" that starts off like a sweet soul track then pulls a 180, turning dark and haunting, centering on a sound they created by tucking a timpani into a bathroom two doors down from the mixing board. That same sense of experimentation comes up again on "Fare Evader" where they pepper another neck breaking rhythm track with synth notes that sound like robot sound effects from a 70s sci-film. The fellas turn up the tempo for the dance with tunes like "Consulate Case" and "Tag Dag"; the former pulling influence from afro-funk and the latter from jazz-funk. They take us deep into the beautiful world of Surprise Chef ballads on "Websites" and double down on their abilities to make beautiful and ethereal tracks with "Dreamer's Disease". With their new album Superb, their new approach, and plans to tour the world, we are about to see Surprise Chef take the step from the underground's most beloved to a household name and we are definitely here for it.

Miles Away Records are proud to introduce a brand-new, never before released piece of music.

In September 2024, Rob J Madin reached out to us with a collection of instrumental covers he had created. Immediately drawn in, we loved both the musical approach to these covers and the fact he tastefully selected these tracks to cover. Following up, we asked Rob, an accomplished musician, if he had any original compositions in a similar style.

The result is "MONSTRO", six instrumental slabs of jazz-funk heat! Produced primarily in Rob's attic studio in Sheffield. Rob showcases his talents on guitar, bass, keys, and percussion, with each track built around iconic drum samples. Listeners can expect spacey synths, silky electric pianos, and irresistible hooks. Think BADBADNOTGOOD meets Mildlife with a side plate of Herbie Hancock.

From the kick-your-door-down energy of "Callisto Disco" to the slow-burning allure of "Heartbreaker" and optimistic sunny day feel of "Cherryade" to the fully grown earworm synth lines of "Bouquet Garni". In addition to four original songs, the collection features two cover versions from that initial SoundCloud link: Michael Miglio's "Never Gonna Let You Go" and Rupa's "Ayee Morshume Be-Reham Duniya." Both are rare early-80s gems, wonderfully reimagined by Rob.

"MONSTRO" will be officially released on May 16th, 2025 on digital and physical formats. The 12" EP comes with printed inner sleeves and is pressed at 45rpm for maximum audio depth.