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Yuno's full-length debut, Blest, out May 16 on Sub Pop, finds the enigmatic indie-pop visionary transforming the emo-tinged suburban malaise of his 2018 Moodie EP into more expansive, widescreen pop drama - suited for big moves and bigger stages. The kaleidoscopic sound he devised as a millennial hermit in his childhood bedroom in Florida has since broadened his horizons, taking him on tour with Unknown Mortal Orchestra and Superorganism, and soundtracking various series for Netflix and HBO. Imbued with elements of dream-pop, rock, trap, and psychedelia, his eclectic songs serve as bids for love and connection, which especially in the fractured era of social media, have resonated with many listeners who find solace in his vulnerability. Yuno's superpower lies in the way he mines a multitude of genres for their pop potential and surfaces with a tapestry that feels novel and fresh. Take, for instance, "Blest," the immediate, blissful, and bright title track, which is inspired by Rich Harrison-breakbeats and Neptunes-esque jangle. Or the breezy single, "True," in which Yuno moderates a lover's quarrel with slick, trap percussion. Amid the breakbeated dream-rock of "Gimme Ocean," he introduces his guitar solo with a searing emo scream, run through an EarthQuaker Devices pedal. Don't let his sanguine aura or his sherbet pink wardrobe fool you; he can shred as hard as he wants to when he wants to. All songs on Blest were written and performed by Yuno, co-produced by Yuno and Frank Corr (Morning Silk), who also contributed keyboards, drums, and guitar throughout the record, with additional production and instrumentation by Patrick Wimberly (Chairlift) at The CRC in Brooklyn, and Nick Sanborn (Sylvan Esso) at Betty's in Durham, NC. Blest was mixed by Steve Vealey and mastered by Joe La Porta.

One more year and a new edition of our ANAØH INVITES vinyl series.

As is tradition, in this third volume, Dig-It and Fixon, hosts of the label, invite two artists to join them and release four original tracks on a special edition 12′ vinyl.

For this new edition, we have two artists whom we truly love and respect.

On one hand, until a few months ago, the mysterious BLK_BETTY an artist with few appearances but undoubtedly a powerful and forward-thinking producer, a true representative of that jacking and energetic sound.

On the other hand, we are honored to welcome the legendary The Advent, a living icon of pure Techno, who has delivered a track that gives us goosebumps and brings back the essence of his early 2000s sound, the most aggressive and powerful The Advent.

We are honored to celebrate 9 years of work with this 12′ vinyl edition alongside artists we deeply admire, and we hope you love it as much as we do.

From México with Love. Fixon & Dig-It

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Un año más y una nueva edición de nuestra serie en vinilo ANAØH INVITES.

Como es tradición, en este tercer volumen, Dig-It y Fixon, anfitriones del sello, invitan a dos artistas a unirse a ellos para presentar cuatro tracks originales en un vinilo especial de 12″.

Para esta edición contamos con dos artistas a quienes realmente queremos y respetamos. Por un lado, hasta hace unos meses, el misterioso BLK_BETTY, un artista de pocas apariciones pero sin duda un productor potente y visionario, un verdadero representante de ese sonido jacking lleno de energía.

Por el otro, nos honra dar la bienvenida a la leyenda The Advent, un ícono vivo del Techno en su forma más pura, quien nos entrega un track que pone la piel de gallina y revive la esencia de su sonido de inicios de los 2000s: el Advent más agresivo y poderoso.

Nos llena de orgullo celebrar 9 años de trabajo con esta edición en vinilo, acompañados de artistas a quienes admiramos profundamente. Esperamos que lo disfruten tanto como nosotros.

From México with Love. Fixon & Dig-It

Chilean-born, Bristol-based DJ, producer, and vocalist Shanti Celeste is back with her highly anticipated second album, Romance, set for release on May 16 via the label head’s own Peach Discs, in collaboration with Method 808. Marking her debut LP on the cult London-based label, Romance sees Celeste fully embracing her artistic evolution, delivering a lush and deeply personal exploration of love, longing and self-discovery across its nine tracks. The album’s bubbling lead single, ‘Thinking About You’, is out now - an emotional and dancefloor-facing glimpse into Celeste’s new era with her voice at the fore.

Shanti Celeste has long been revered for her radiant and infectious sound in a vibrant blend of house and techno. Romance takes this signature style to new heights, exploring the depth of romantic and platonic relationships that permeates the record with a pop-infused sheen. With her vocals placed front and center for the first time, Celeste weaves a sonic tapestry that is as introspective as it is euphoric; it’s a love letter to romance, but also an ode to the transformative power of opening your heart.

For all of Romance's soft focus, it still functions for the dance floor - lead single ‘Thinking About You’ is poignant and heartfelt, driven by a shimmering groove and Celeste’s ethereal falsetto. Inspired by memories of a late friend, the song is a tribute to the enduring nature of love and loss. “He was my first boyfriend but also a really good friend,” Celeste shares. “He was a really important person in my life.” —a beautiful, danceable meditation on the power of remembrance.

The majority of Romance was crafted between Celeste’s home of Bristol and London, featuring collaborations with longtime friend and esteemed producer Batu on ‘Note to Self’, ‘Light as a Feather’ and ‘Softie’. The album also sees Celeste teaming up with Austrian-Ethiopian harpist Miriam Adefris, whose delicate instrumentation adds a celestial edge to tracks like ‘Butterflies’ and ‘Medicine’. It follows her previous smash hit ‘Ice Cream Dream Boy’ last summer, which was named a track of the year by both Mixmag and DJ Mag. Earlier this month, Shanti celebrated the release of the vinyl version with a packed-out in-store set at Phonica Records in Soho.

Shanti will be taking her Club Celeste event series to The Cause for the third year running on May 17, in celebration of the album release. The day & night party will feature sets from Shanti as well as Daisy Moon, Gabrielle Kwarteng, Lishy, Peach and Ryan Elliot b2b Ogazón. Tickets are available here: https://ra.co/events/2062135

With Romance, Celeste steps into her full potential, creating an album that is as deeply personal as it is universally resonant. The album arrives this summer via Method 808. Stream ‘Thinking About You’ now.

On their debut album Seven Dances to Embrace the Hollow, Zurich-based artists Magda Drozd and Nicola Genovese, as Sopraterra, offer exactly what’s announced: seven compositions which, as they unhurriedly flow into each other, mark potential entry points to discover what might be lying underneath. By choosing Sopraterra, which translates to “above the earth” in Italian, as their shared project’s name, Drozd and Genovese indicate their own position in this archeological-looking endeavor, hinting at the potential for sonic explorations to produce deeply submerged discoveries.
Sopraterra’s object of inquiry isn’t easily grasped, traversing histories and blending influences alike. In a time-line-bending manner, musical signifiers from the past, along with specific tonal scales lifted from baroque and medieval music, get digitally synthesized. As sonic matter, the result is distinctly of today: a collection of electro-acoustic compositions that remain experimental at their core, referencing genres like post-rock, shoegaze, or psychedelic, while evoking aural memories of ancient times. Seven Dances to Embrace the Hollow pulls backward and pushes forward alike. Without ever forcing a didactic listening experience, musical motifs and archetypes are thoroughly investigated. But there is no scientific ambition at play here. Rather, the harmonies of late medieval Ars Nova or the transcendent elegance of Baroque chamber music lend their emotional qualities to perceived ideas of old times.
Oscillating between ambient and drone, the album’s seven brooding compositions bring primal connections to a universally shared past to the surface. In its multi-directional positioning, Seven Dances to Embrace the Hollow makes the case for embracing the confusion of warped time and paying attention to all that’s rather felt than seen.

Many of the greatest artists of all time found inspiration in their dreams... and pdqb is known to be an absolute pro when it comes to creatively exploiting the REM cycles.

Recently, for example, he dreamed of Gunnar, who had witnessed the rise and fall of electronic dance music, which had once held simple-minded creatures in its thrall. The beats had a peculiar effect on them, drawing them into euphoric trances. But Gunnar, allergic to its hypnotic frequencies, stood apart, unaffected. However, eventually, in a hidden enclave in the highlands of Reykjavík, he met Dr. Amara El-Amin, a neuroscientist fascinated by his unique immunity. Together, they discovered that Gunnar's resistance was a gift, offering insights into human consciousness and the power of music. With this knowledge, Gunnar inspired a global movement celebrating frequencies that resonate...differently. Though EDM had become a relic, Gunnar Oliasson remained a legend - a bad taste survivor who embraced a symphony of pure electrical potential, a language of circuits and oscillations beyond sound.

He woke with a jolt, the phantom music still echoing in his mind. He scribbled furiously, equations and diagrams mixing with strange, abstract notations. The dream, he knew, was a glimpse into a world where his inventions would dance, not just function.

For Synaptic Cliffs, it is an extraordinary honor to be able to offer you, dear listeners, the soundtrack of pdqb's world-changing dream: Four beautiful genre-defining Electrocognition tracks, embracing the depths of the human wetware. And three jaw-dropping sonic remodels from a human-like being called The Exaltics.

Keith Hudson’s Nuh Skin Up Dub is a deep, heavyweight dub album that stands as one of the most potent statements in the genre’s history. Released in 1979, this sonic masterpiece showcases Hudson’s signature dark, almost mystical production style, where heavy basslines, echo-drenched drums, and ghostly fragments of vocals swirl together in a hypnotic haze. Unlike the more polished, accessible dub records of the time, Nuh Skin Up Dub is raw, unfiltered, and experimental, pushing the boundaries of rhythm and space. Tracks like "Nuh Skin Up" and "Felt We Felt the Strain" pulse with an eerie, almost menacing energy, while Hudson’s masterful use of reverb and delay creates a soundscape that feels simultaneously expansive and claustrophobic. Often referred to as the “Dark Prince of Reggae,” Hudson had an uncanny ability to craft music that was both deeply meditative and unsettling, and Nuh Skin Up Dub is a prime example of his genius. It's a record that rewards deep listening—every spin reveals new layers of sonic detail, hidden textures, and dub wizardry. For fans of heavy, atmospheric dub, Nuh Skin Up Dub is an essential listen, a landmark recording that solidifies Keith Hudson’s status as one of the most visionary figures in reggae history.

Berlin-based French-Irish multimedia artist Zoe Mc Pherson levels up on their third full-length "Pitch Blender", mangling years of experience DJing and performing live into a tight set of cybernetic soundsystem experiments that flicker between the rave and the art space.

Cast your mind back to February 2020 for a moment, when Mc Pherson released their last album "States of Fugue". The world seemed less tangled somehow, and yet Mc Pherson's precision-engineered fusion of exploratory sound design and visceral club pressure seemed to hint at a cataclysmic event none of us were really expecting. Only a few weeks after its release the world changed forever, and the majority of us were grounded - forced to consider our lives and the movement (or lack thereof) surrounding us. The philosophy of this extended time period is welded into the bones of "Pitch Blender", Mc Pherson's supple third album. They have learned plenty in the last two years, and infuse all of that anxiety and spiky emotionality into a spread of tracks that sound as powerful in headphones as they do over a well-tweaked soundsystem, soldering vocals, environmental recordings and instrumental flourishes to unpredictably pneumatic, cybernetic beats.

Anyone that's caught one of Mc Pherson's energetic live performances over the last few months will have an idea of what "Pitch Blender" is made of. They're an artist who's somehow able to match the raw energy of post-punk and no-wave music with the brain-altering potential of the best experimental club tracks, vocalizing an incongruous post-lockdown reality over beats that sound as if they're in a permanent state of flux. 'On Fire' splutters to life in a frenetic patter of drums that blur into oddly soothing hoover sounds, snaking lysergically towards a drop that's teased constantly, and never comes. We're forced to wait until 'The Spark' for that, fighting through choppy, pitch-mangled guitar and rolling beats until a gruesome kick drum forces its way through the psilocybin mists and heaving Bristol-inspired bass clonks. Backed up with just the inverted traces of recognizable breaks, this vigorous pulse lies at the heart of "Pitch Blender", the driving force that powers Mc Pherson's sound even when it's only hinted at.

'Blender' is the moment where Mc Pherson show their full hand, using crackling sound effects, ghost vocals and uneven rhythms to build a textural landscape that's so evocative you can almost taste it. Squealing modular synth effects sound like gameshow buzzers being triggered in another dimension and propel the track forward - it's club music, just about, but Mc Pherson's motivation is world-building, and their world is colorful, abstract, and dizzyingly surreal. "Obsolete user," their voice echoes over driving airlock kicks. But they take a swift left turn with 'Lamella', reducing the kinetic club rhythms to a longing simmer and letting loose with powerful vocals, intoning with robotic, gender-fluxed intensity. On 'Wait', New York City's clacking crosswalk signal - already an effective club track on its own - is transformed into a reminder to slow down, juxtaposed with booming sub-heavy kicks, acidic synths and effervescent percussion that rattles in time with the vibrations. It's foley rave, built for pure psychedelic intensity to blur the line between real life and sonic fiction.

One of the album's most galvanic tracks, 'Power Dynamics' curves a double-time rhythm around breathless HQ sound design squiggles until it hits a polyrhythmic crescendo, striking a queasy balance between rave hedonism and ritualistic hand drum energy. It all builds towards eerie closing track 'Outside' that acts as an important wind down, spotlighting Mc Pherson's ability to operate outside of the rhythmic spectrum, using cinematic scrapes and flickering neon synths to create music that's tense but never terrifying. The track feels like the end credits of a particularly bewildering movie - something between the cyberpunk dystopia of "Ghost in the Shell" and the vivid, sky-scraping beauty of "Koyaanisqatsi". Mc Pherson has managed something special with "Pitch Blender": mashing together genres with rare focus, and sharpening their engineering skills to a fine point, they've concocted an antidote to contemporary malaise - a wakeup call that's begging us to loosen our limbs and move.

Growing up is painful, brutal, and sometimes beautiful _ something Brooklyn-based indie-rock band Bedridden knows all too well. The band's name is even a nod to that ineffable period between childhood and the jagged edges of the real world. "When I was 21, I kind of lost my home," says frontman/guitarist Jack Riley. "I was couch-surfing. I was having a hard time.The next iteration in the band's maturation, then, is their debut, LP Moths Strapped To Eachother's Backs, 10 fuzzed-out (and sometimes gnarly) ruminations on dating, drugs, and survival out April 11 on Julia's War. The title came from a mysterious missive Riley received on astrology app Co-Star. "Last year I was way too reliant on other people _ my partner at the time, my friends," he says. "I was strapped to them in a weird way _ and flying in circles. This album is about that time."The current incarnation of Bedridden encompasses a patchwork of styles, influences, and friends Riley accumulated over the years. A Chicago native who first started making music at age five on a thrift-store guitar emblazoned with Kurt Cobain's name, Riley moved to New Orleans for college where he dabbled in punk before falling in love with shoegaze. There, he launched the first version of Bedridden. Sebastian Duzian (bass) _ a jazz musician and Pasadena native _ linked up with Riley in NOLA along with his bandmate, drummer Nick Pedroza. Pedroza, from Claremont, grew up on rock, metal, and jazz, honing his style after joining the band. Wesley Wolffe _ a guitarist fed on a steady diet of New Wave and `90s alt _ rounded out the crew just a few months back. Bedridden's previous lineup released their first EP, Amateur Heartthrob, in 2023 _ a noise-washed blend of shoegaze, DIY, and indie that Riley says is a "coming-of-age EP _ these formative stories about not having a bed, dating, being kind of a jackass. I was making fun of myself a lot." That release caught the attention of Douglas Dulgarian from Philly Label Julia's War (and TAGABOW), who signed them for Moths."Some of these songs have been around for years," says Riley, adding that they were recorded last February at Studio G Brooklyn; the album was produced by Aron Kobayashi Ritch (Momma). "As opposed to Amateur Heartthrob, we attempted to blend more clean guitars into a driving sound to capture more clarity _ one that also sounds live_ and raw," Riley says. That rawness thrums through the record, which kicks off with the thrashed "Gummy," about an incident when Riley had to gently fend off a co-worker's unwanted advances while both drunk and high on an MDMA gummy. And then there's mournful rager "Etch," which sees Riley daydreaming about beating up a meddler in his personal life _ in the minor key.The annihilating "Chainsaw" revs in next, a lightning-fast Lemonheads-inspired track that recalls Riley moving in with new roommates who were unnaturally obsessed with purchasing a lamp. "For some reason that pissed me off," he laughs; that rage is evident in the album cover, which shows said power tool demolishing a lampshade. Heavy-shredding "Heaven's Leg" showcases the band's affinity for `90s mainstays like Smashing Pumpkins while telling the tale of a gig at a local church. "The lyrics are about a pastor I had met that had lost his leg," Riley says. "The church had signs about not cussing and I had a feeling that neither of us had anything to talk about without potentially offending the other."The band's not afraid to get confrontational, though, on the anger-fueled, drum-heavy "Philadelphia, Get Me Through," which deals with a dead-end relationship and the mistaken assumption that getting drunk in the titular city would be a balm against the pain. And the nasty, brutist, and short hardcore-adjacent "MainStage"? "It's about being disrespected at a show on New Year's and how I lashed out," Riley says. "I then began to take it out on other people, which was a quality that I despise."Things get contemplative and mournful from here on out _ the emo-edged "Snare" is about bringing flowers to a hospital room where you're not welcome, while the Smiths-inspired "Uno" wrestles with self-loathing. "I guess the big finale of that song was my response to dealing with this recurring experience of feeling like I wasn't good enough by getting really into whippets," Riley says. Nu-metal bop "Bonehead," then, recalls an embarrassing dinner that turned into an argument _ the name applies both to that incident and the delicious simplicity of the guitar parts.After all that turmoil and pain, the band caps everything off with their eyes to the future on the jangle-pop "Ring Size." "All my friends are getting married _ do I follow in their footsteps? Or is it all a waste of time?" Riley says of the song. "At the end, through it all, I guess that's what I've been trying to figure out _ how to grow up, how to move on. I'm trying to navigate things as an adult and I'm not very good at it. But this is just the first record. This is just the beginning."And, hey, at least now he has a bed.

A Chaos Of Flowers is an album that builds on their ferocious 2023 album nature morte. BIG|BRAVE"s music has been described as massive minimalism. Their fusillades of textural distortion and feedback emphasize their music"s frayed edges as much as its all-encompassing weight. The potency of the trio"s work is their singular artistry combining elements of traditional folk techniques and a modern deconstruction of guitar music. Gain, feedback, and amplitude are essential. For A Chaos Of Flowers guitarist/vocalist Robin Wattie drew heavily on the poems of artists whom Wattie found kinship in, their words resonant with experiences of those often sidelined by cultural norms. "I discovered that most poems from folk traditions or in the public domain seem to be by men - to which I could not quite relate. In my search, I rediscovered some of my favorite works and poets," says Wattie. Guitarist Mathieu Ball and drummer Tasy Hudson help Wattie shape poetry into pieces as dense and impenetrable as they are vulnerable. BIG|BRAVE achieve their colossal sound through minimalist approaches, a deft understanding of dynamics and an inventive employment of percussion and distortion. The trio reconceptualize what it is to be heavy or minimal, challenging perceptions with their illumination of painfully overlooked perspectives. Guest guitarist Marisa Anderson lends earthen, blues-inflected atmospheres to the album, where guitarist Tashi Dorji and saxophonist Patrick Shiroishi amplify the squall. Working closely with frequent collaborator and producer/engineer Seth Manchester, the internal tumult of Wattie"s voice rings out in warbles, haunting echoes, and unearthly harmonies across bold immense walls of distortion. BIG|BRAVE have collaborated with metal monsters The Body on a previous Thrill Jockey release, Leaving None But Small Birds, and have toured internationally with bands like SUMAC, Godspeed You! Black Emperor, SUNN O))), and Lingua Ignota. As they continue to ascend in their journey as pioneers in the contemporary metal scene, it"s safe to say that BIG|BRAVE are here to stay.

Contemporary Belgian techno powerhouses Charlotte de Witte and Amelie Lens come together on a groundbreaking new “One Mind” EP.

Between them, this pair have very much refined the sound of techno over the last few years. Both hail from Belgium, and both came up through the clubbing scene with their own unique interpretations of techno and its many different nuances.

Charlotte de Witte, a global techno icon and founder of the KNTXT label, has released numerous EPs with a focus on acid and techno, blending in trance and ambient into compelling club cuts. With millions of fans, she also has a history making presence in underground clubs, at electronic music festival main stages like Tomorrowland and Ultra, and crossover festivals with her recently completed production tour "Overdrive". She’s also been crowned DJ Magazine’s World’s Number 1 Techno DJ five years in a row. Through KNTXT, she innovates with ventures like the archival Époque label, immersive pop-ups and spontaneous street parties. Poised for a groundbreaking 2025, she remains at the forefront of revolutionizing the electronic music landscape.

Amelie Lens, the leading figure in modern techno, is known for her exceptional productions and performances. Beyond music, she is a proud mother, record label owner, and activist. She founded Exhale and LENSKE, two globally recognized labels and event platforms celebrated for their inclusivity and unique on-site experiences. Exhale focuses on nurturing fresh talent, signing its youngest artist at just 16 years old. Amelie made history as the first woman with a residency in Ibiza and is now collaborating with Vogue Collective, becoming the first techno artist to do so. Her strong relationships with top designers like Chanel further highlight her creative vision beyond music. From festival appearances at the biggest festivals in the world to performances at iconic venues like The Sphere in Las Vegas, Amelie consistently pushes boundaries, shaping the future of electronic music.

To enhance the unified concept of the EP, both Amelie and Charlotte’s voices are subtly layered into the tracks, together, as one.

The brilliant 'One Mind' kicks off with rock solid, earth rattling kicks and intimate vocal whispers that draw you in close. Flashy, strobe lit synths soon electrify the groove and ensure hands will go skywards as acid lines bring extra drama. 'Where Do We Go' is another fantastic, turbocharged and acid-laced trance-techno gem with high-speed drums and synths racing along under icy spoken words that bring spine tingling sensuality.

This is a super coming together of two of modern techno's most potent creative forces.

Rocket Recordings’ new Black Hole Series is a place where the unorthodox, otherworldly and esoteric can flourish, and there could be no more fitting first release for it than the most powerful metaphysical travelogue yet from Moundabout. Journeying still further into and beyond the landscapes from which this duo have unearthed inspiration, ‘Goat Skull Table’ is a transmission to give flight to spectral visions and include trance-states in abundance.The vibrations and manifestations of the duo of Paddy Shine(GNOD) and Phil Langero (Los Langeros, Damp Howl, Bisect) has always resonated within a very specific sense of place, transcending linear narratives and astral planes in a quest to unite timeless spirits with inner space. This third release for Rocket Recordings sees them colluding with
the landscape of their surroundings, transcending linear narratives and astral planes in a quest to unite timeless spirits with inner space.The title track marks a focal point here; a Shamanic rite on which Langero’s charismatically charged mantras collude with an audial landscape somewhere on the map between the abstract spell-casting of Nurse With Wound and the druidic gnosticism of Julian Cope. This is Moundabout at their darkest and most ritualistic. Elsewhere, the hypnotic repetition of the twin ten-minute extrapolations ‘Blood On My Blanket’ and ‘Wagon’, and the potent incantatory chants of ‘Am I Not’ and ‘Brave New World’ glow with a rugged and
charged dynamism redolent of the Swedish Psychedelia of Träd, Gräs & Stenar, uniting a minimal aesthetic with maximal impact.
Dauntless, feverish, and reaching new heights of primal intensity ’Goat Skull Table’ is a formidable field guide to the earthen and other

2025 Repress

Johnny's Disk Record Ist Ein Unabhängiges Jazz-label, Das Vom Inhaber Des Jazz-cafés Kaiunbashi In Der Stadt Rikuzentakata In Der Präfektur Iwate, Japan, Betrieben Wird.
Das Legendäre Label Veröffentlichte Eine Reihe Von Alben Mit Hochwertiger, Aber Bodenständiger Musik, Die Von Modernem, Avantgardistischem Jazz Bis Hin Zum Leftfield-pop Reicht. Alben Wie "johnny / Left Alone" Und "aya's Samba" Haben Bei Den Fans Kultstatus Erreicht Und Gehören Zu Den Besten Werken Der Japanischen Jazzszene.
Dieses Debutalbum Des Drummers Und Schauspielers Mitsuaki Katayama Ist Ein Japanisches Jazz Meisterwerk.
Bestehend Aus Fünf Eigenkompositionen, Enthält Das No-filler-album Die Tracks "unknown Point", Einen Tanzbaren Jazz-samba Mit Engem Und Kraftvollem Schlagzeug, Den Melancholischen "arizona High Way", Ein Stück, Das Perfekt Verkörpert, Worum Es Beim Japanischen Jazz Geht, "it's Over", Mit Wunderschönem Klavierwerk Von Kichiro Sugino - Einem Vielversprechenden Pianisten, Der Tragischerweise Einer Chronischen Krankheit Erlag Und Sein Potenzial Nicht Voll Ausschöpfen Konnte, "louis" Und "first Flight", Ein Jazziger Dance-schnitt Mit Einer Funky Bassline.

Der Titel dieser Arbeit von Beatrice Dillon ist dem Begriff ,basho" entnommen, der von Kitaro Nishida, dem japanischen Philosophen und Vater der Kyoto-Schule, entwickelt wurde. Kitaros ,basho" bezieht sich auf einen grundlegenden Ort oder ein Feld, in dem Dinge existieren und interagieren. Dabei geht es nicht nur um einen physischen Ort, sondern um einen abstrakteren Raum, in dem alle Erfahrungen, Gedanken und Phänomene miteinander verbunden sind. In Nishidas Philosophie ist ,basho" ein dynamischer, lebendiger Ort, an dem Subjekt und Objekt, Selbst und Welt, nicht getrennt sind, sondern sich gegenseitig bedingen. Inspiriert davon entwickelt Beatrice Dillon eine Musik von komplexer Natur, die nie aufhört, sich als reine Präsentation zu konstituieren, die ständig neu belichtet wird und in jedem Moment sowohl das Objekt der Aufmerksamkeit als auch den Hörer, der darauf zielt, reaktiviert. Dillons Basho, das sowohl seine Klänge (die keinen wirklichen Ursprung oder inneren Raum haben) als auch seine Idiome aus der elektronischen Musik entlehnt, ist eine Ablenkung, eine Neuanordnung, die uns durch vertraute, aber plötzlich fremde Elemente in ein Feld des reinen Hörens zurückführt. Still Forms des japanischen Komponisten Hideki Umezawa schöpft sein Klangmaterial aus der Erforschung der Baschet-Klangstrukturen, Instrumente, die von den Brüdern Bernard und François Baschet in den 1950er Jahren entwickelt wurden und seitdem in der Welt des zeitgenössischen Musikschaffens hoch geschätzt werden. Diese Strukturen wurden 1970 auf der Weltausstellung in Osaka vorgestellt, und einige sind in Japan geblieben. In verschiedenen Aufnahmesitzungen in Japan, aber auch in Frankreich, erforscht Hideki Umezawa das faszinierende klangliche Potenzial dieser atypischen Instrumente neu, um sie in eine hochgradig beherrschte Komposition einzubinden, in der Klänge akustischen Ursprungs und elektronische Texturen aufeinander reagieren, wie in der verzerrten Reflexion der Resonatoren der Baschet-Strukturen. Still Forms ist somit eine Hommage an und eine Zeitreise durch die unglaubliche Inspirations- und Erfindungskraft dieser Klangstrukturen, aber auch ein zugespitzter Vorschlag für eine zeitgenössische elektroakustische Komposition, die sich zu erneuern weiß, ohne ihre Ursprünge zu verleugnen.

"A powder keg of bangers primed to shake the rat race to its core" - The Guardian Australia (Best of 2023) "Simultaneously chaotic and precise, no matter whether the palette is fierce rap, punk energy or slinking beats." - Rolling Stone Australia (Best of 2023) London/Melbourne rap duo Teether & Kuya Neil release their long-awaited debut album YEARN IV. YEARN IV captures the brooding and vivid world of two musical outsiders. Raised by the internet, the pair find their voice amid a sea of clashing cultural experiences and sonic histories, finding solace in the isolation of contemporary urban Australia. Recorded in Melbourne and completed in London, the album captures the duo's hyper local yet globally influenced rap sound at its core. Kuya Neil's drum heavy production collides with Teether's surreal and immersive storytelling, blending thrash metal and club music aesthetics with the echoes of the early internet. Lead single `ZOO' plays with the silent throes of cultural diversity over a paranoid trap instrumental, 'BLUSH' is a blissed out digital love letter wuth shimmering autotuned hooks and rave inspired breaks. `CHANEL' (featuring Indigenous Australian songwriter Alice Skye) is a guitar driven lament for Australia's myopic cultural landscape, fading out with "I'll never reach my full potential here". Teether & Kuya Neil released their first mixtape GLYPH via Chapter in 2021, receiving airplay from NTS, Dublab and Australian radio, plus writeups via Brooklyn Vegan and NME. Four tracks from `GLYPH' were featured in the iconic Australian Netflix series 'Heartbreak High' the following year. 2023 mixtape STRESSOR charted in the Australian Independent Top 10 and made it into end of year best of lists for The Guardian, Rolling Stone and NME Australia. The mixtape was nominated for Best Hip Hop Album at the 2024 Australian Independent Music Awards and named Album of the Week by 3RRR and fBI Radio. Teether & Kuya Neil have performed around Australia and New Zealand. They have played alongside international peers MC Yallah & Debmaster and They Hate Change as well as supported veteran alt-rap outfit Shabazz Palaces and Chicago Footwork pioneer RP Boo. As a solo artist, Teether has collaborated with New York rapper Billy Woods and toured with his outfit Armand Hammer in Australia in 2022. In 2024, he opened for the legendary Kim Gordon. Kuya Neil is an active producer in underground dance music, releasing tracks on UK labels Chinabot and Moveltraxx and has toured South East Asia as a DJ and promoter.

CAJU, THE SECOND ALBUM BY BRAZIL'S UPCOMING STAR - LINIKER

A SEAMLESS BLEND OF POP, SAMBA, JAZZ, R&B, AND HOUSE, FEAT. LULU SANTOS, PABLLO VITTAR, TROPKILLAZ, MELLY, PRISCILA SENNA, BAIANASYSTEM, AMARO FREITAS & ANAVITÓRIA

LIVE - JUNE 14 - ELECTRIC BRIXTON

VINYL IS A 2LP GATEFOLD with a 4Page Booklet

+ OBI & PRINTED INNER SLEEVES

BorninAraraquara/SãoPaulo,Liniker is a multitalented artist - singer, songwriter, music producer, and actress - whose passion for the arts began in childhood. Influenced by her mother and uncles, who were active in samba rock circles, Liniker's early musical experiences planted the seeds for her future career. Today she is one of the most exciting Brazilian artists. In 2022, she won the Best Brazilian Album category at the Latin Grammy Awards with Indigo Borboleta Anil. In 2023, Liniker became immortalized by the Brazilian Academy of Culture, taking the seat once held by Elza Soares, the eternal Brazilian singer. Liniker's sophomore album CAJU, released in August 2024, has quickly become a classic in Brazilian popular music. The album's 14 tracks—some extending beyond 7 minutes—demonstrate Liniker's commitment to artistic expression over commercial constraints. Liniker showcases versatility and artistic growth through a seamless blend of pop, samba, jazz, R&B, and house. Songs like "Veludo Marrom", "Tudo" and "Ao Teu Lado" shine for their musical complexity and emotional depth. Its success led to multiple wins at 2024 Multishow Brazilian Music Awards, including Artist and Album of the Year. The album features Lulu Santos, Pabllo Vittar, Tropkillaz, Priscila Senna, Melly, BaianaSystem, Amaro Freitas and ANAVITÓRIA.

David Janeway’s 1986 independent release Entry Point is a gathered and stylish offering of fusion jazz, flitting between Latin, modal and spiritual themes. Featuring desirable cameos from the likes of Bob Berg, Steve Berrios and Marcus Belgrave, the album comprises seven tracks, six of which are original Janeway compositions.

Self-released in 1986, Entry Point didn’t initially make a splash and fell into relative obscurity, only to be discovered by rare jazz collectors and dealers many years later. Upon contacting David with a view to potentially reissue Entry Point, he revealed that he had original sealed copies of the release in his possession – a record which has commanded high prices in jazz dealer circles. We have exclusively imported the last of the original stock: what you’ll get here are original, sealed copies from 1986, pressed up on David’s New Direction label. They are all in mint condition, sealed in their original shrink wrapping, and extremely limited in quantity, with only forty copies in stock.

Entry Point is a beautiful album full of outstanding musicianship, dedication, craft and audible passion, informed by the many diverse musical stylings of its time and gathered by the overarching sonic maturity and discipline of jazz. A true classic of its ilk, and a one-of-a-kind album that is an absolute must for any discerning jazz collector, a newly discovered gem that is long overdue recognition for the outstanding piece of work that it truly is.

David Janeway is an extraordinary pianist with a great facility and wealth of ideas. He exhibits maturity and depth in his playing. He has most definitely “ARRIVED”. ~ Eddie Henderson

“Growing up has always been a solitary journey, marked by forward-looking anticipation, anxiety, unripe potential, aspirations, and closures.”

London based Chinese composer and multi-instrumentalist Li Yilei returns to Métron Records with NONAGE, their second full length release following 2021’s OF. An introspective reflection on the journey through childhood, this new work brings together samples from old Chinese TV shows, mechanical children’s toys and an array of acoustic and electronic instruments - some of which were designed and built by Li themselves.

The Chinese title for "NONAGE" is "垂髫", which translates to “childhood” or “disheveled hair”, and refers to the carefree phase of life when children let their hair down, both figuratively and literally. For Li, nonage is a place that they always revisit - to learn about fear and fearlessness, love and despair, grief and glee, curiosity and mistakes.

“I remember pressing piano keys like touching flowers, reading scores like looking at paintings, writing like how I would talk to myself, greeting death like how I would greet life.”

Initially conceived as an archiving project, the record retraces and reimagines fractions of Li’s childhood memories through smell, location and colour, and brings to life the lingering feelings that remain into adulthood.

Compositions are built around a variety of unusual sources: damaged instruments such as a toy piano, a hand cranked music box, bird whistles, a broken accordion and anything else Li could find that evoked nascent recollections. Interspersed throughout are samples from Li’s childhood piano jams, moments of contemplative transmigration where previous incarnations of self and memory meet the present.

Machine Head - fierce, relevant and unstoppable!

Very few bands make it to their 11th album. Even fewer do so with the same fire and fury that defined their early years. But Machine Head isn’t just any band. For over three decades, the personification of determination, Founder/Vocalist/Guitarist Robb Flynn, has led Machine Head on an uncompromising path – one fueled by defiance, reinvention, and a relentless pursuit of evolution. Now, with ‘UNATØNED’, they’ve once again sharpened their sound into its most direct and impactful form to date.
Determined to challenge himself, Flynn set strict songwriting parameters for ‘UNATØNED,’ shorter, more focused songs with a decidedly American feel, unconventional key changes, and shifting structures that break expectations. That self-imposed restraint resulted in a lean, unrelenting album that captures Machine Head at their most potent.
The album drips with melancholy melodies, and yet hammers with bludgeoning riffs, soars with anthemic sing-a-longs of love-lost and sadness, to bellowing power and undeniable confidence.
‘UNATØNED’ is Machine Head proving once again that longevity in metal isn’t about comfort – it’s about taking risks, standing firm in conviction, and refusing to stagnate. Eleven albums deep, they remain as fierce, relevant, and unstoppable as ever.