Search:push

When Bob Vylan won the first MOBO award for Best Alternative Music Act in 2022, the punk-grime duo took to the stage and used the platform to speak about how they managed to achieve the impossible as independent artists in a genre-defying space. “We released an album this year that we produced entirely, mixed entirely, recorded entirely, all from my bedroom…so everybody that’s here, bigging up Atlantic and bigging up Warner, fuck that, us man did it ourselves”.

It was an acceptance speech that rattled the room and built anticipation for their next projects.

Humble as the Sun, the forthcoming album from Bob Vylan continues with much of the rage and urgency that they have come to be known and loved for, but this latest project shows that they are now stronger and wiser, bolstered by the wins and learnings that they have fought hard for along the way. The resulting tracklist aims to leave the listener feeling power alongside their anger, and brings a fresh and compelling blend of punk, rock, grime and rap together in an experimental way.

Following on from the last album, Bob Vylan Presents the Price of Life, the message woven throughout Humble as the Sun remains dark in places but is high-energy, defiant and unapologetic in its critique of a broken social and political system that so many have fallen victim to, but feel powerless against.

This album is for the underdogs, the ones who come out swinging and those who refuse to be defeated in the face of injustice, and aims to remind listeners that anger is a fire that can be harnessed and put to use. The album creation started from a conversation with the sun, which is, after all, a big ball of fire that sustains life.

From masculinity to myths about the G Spot, the themes and topics explored on Humble As The Sun make for an often humorously empowering celebration of the peoples ability to endure, overcome and bring about change.

The lyricism on this album is even more layered than their previous projects, still darkly humorous, anti-establishment and unforgiving but at times pauses to deliver much-needed words of afrmation to listeners, “You are loved. You are not alone. You are going through hell but keep going.” Bobby assures the listener, ofering an antidote to the state of the world, aiming to give some power and agency to those who hear it. At a time when so little trust or faith exists between the people and the powers that be, Bob Vylan ofers out a hand in the despondent darkness that has overwhelmed so many in the shadow of a burning planet. They guides the listener to a place where they can see some light and feel empowered to do something, to fight back, to continue pushing forwards despite the challenges faced along the way.

Mixing all of the best quintessentially British - and Jamaican - musical elements from punk to drum and bass, grime and rock, Bob Vylan creates a sound that reflects the state of the nation, at once voicing the frustrations that normal people have, while also highlighting one’s ability to persevere, overcome hardship and to change.

Lennon & McCartney. Simon & Garfunkel. Ralf & Florian. Enema & GeJonte. The inventors of modern pop music as we know it. Joining forces in 1988, Orebro duo Kai Parviainen and Jonas Ohlsson put out four cassettes and a split album with Frak under the Enema & GeJonte guise, all teeming with clever and funny electronic pop songs. The sound? Imagine Duet Emmo jamming out with the Residents on a wheat field on Narkeslatten. Or picture early Severed Heads covering lost Philemon Arthur & The Dung tapes. Kai pushes his Sequential Circuits Pro-One synthesizer to its limits while Jonas makes discerning observations on everyday life in a Swedish small town. Mostly sung in Swedish, sometimes in English, but always with a touch of sweet naivety and innocence on par with lo-fi punk/pop geniuses Dan Treacy and Daniel Johnston. Typical song subjects: A friendly game of five-a-side football. The joy of rising at the crack of dawn to get on with the tasks of the day. A bus journey to Odensbacken to savour a semla at a local cafe and some small talk with the gas station manager. All delivered with a playfulness and ecstasy more commonly found on the records with Swedish Christian music Kai so devotedly collects than in contemporary industrial or electronic music. When Jonas moved to Amsterdam in 1996 the boys ceased making music together, leaving behind a treasure trove of unreleased material, some of which appeared on a couple of cassettes in the 00's. But the best stuff has remained buried until now. How dada pop gems like ''Joxa med trasan'' and ''Underground'' could dwell in obscurity for thirty-ish years beggars belief. Other standout tracks on this compilation: ''Plan 714 till NYC'', a wonderful waltz time instrumental performed in the vein of a drunken Bob Hund, and the En Halvkokt I Folie style cut up experiments of ''Gasten Harry''. So get ready for a glorious blast from the past, as the Swedish pioneers of the hypnotic groove cordially invite you to a sonic journey as adventurous and memorable as a trip on the lansbuss to Odensbacken. Get on board, grab a seat and enjoy the ride. Liverpool. New York City. Dusseldorf. Orebro. // Ulf Osterstrom

In the heart of Offenbach, where the city's pulse synchronizes with the beat of the night, stands the illustrious Robert Johnson Club. For a quarter of a century, it has stood as a bastion of sonic exploration, a sanctuary for those who seek solace in the rhythm, and a beacon of inspiration for the global electronic music community. As it proudly raises its glass to toast 25 years of unrivaled musical excellence, the echoes of countless memories reverberate through its storied halls. To honor this landmark anniversary, „Live at Robert Johnson“ presents a kinda like masters blueprint of sound: "Tell Me Something Good - 25 Years of Famous When Dead!" This compilation, aptly named after the club's mantra, serves not only as a celebration of its rich history but also as a testament to the enduring legacy of the artists who have graced its stage. Crafted with meticulous attention to detail, each track on the compilation is a sonic journey unto itself—a symphony of beats and melodies that weave together to tell the story of Robert Johnson's evolution over the past quarter-century. From the pulsating rhythms of underground techno to the ethereal melodies of deep house, the compilation encapsulates the club's eclectic spirit and unwavering commitment to pushing the boundaries of electronic music. But beyond the music lies something deeper—an intangible energy that permeates every aspect of Robert Johnson's existence. It's the sense of camaraderie that binds together the club's patrons and artists alike, the shared experience of losing oneself in the music, and the profound sense of belonging that transcends language and culture. As the compilation reverberates through the speakers, it serves as a rallying cry—a call to arms for all who have ever felt the transformative power of music. It's a reminder that, even in the darkest of times, there is beauty to be found in the simple act of coming together and losing oneself in the rhythm of the night. So let us raise our voices in celebration of Robert Johnson Club and the indelible mark it has left on the world of electronic music. Here's to 25 years of passion, of creativity, and of "something good" that will echo through the ages for generations to come.

Known for the monolithic force of their music and their inventive production techniques, The Body"s albums are benchmarks in the expansion and evolution of heavy music. Tightly packed with deceptively nuanced arrangements and exhilarating, challenging distortion, their compositions are possessed of an unmistakably singular sound. The Crying Out of Things is no exception; a culmination of all that The Body have done before, highlighting their mastery of dynamic and monumental music that pushes toward the unmistakable sound of oblivion The Body have produced a wealth of groundbreaking collaborations with the likes of Full of Hell, Thou, Uniform, BIG|BRAVE, OAA, and Dis Fig. The duo"s benchmark albums have, over the past 2 decades, changed the perceptions and directions of heavy music. The Crying Out of Things" embrace of noise is a comprehensive display of the multitude of expressions possible with abrasive sound, a skill that The Body have pioneered and refined. "I think for us the key to the way we use noise is, it"s not the only element," says Buford. "You"ve gotta really listen if you"re into noise. But it also has to have dynamics. Where, say, BIG|BRAVE (who have a similar ethos) expresses it in this more intellectual, minimalist way, The Body comes from an instinctual, maximalist way. We"re trying to cover it ALL." The Body stand alone in their ability to connect disparate influences and collaborators into a wholly original, potent and singular work. Alongside producer/engineer Seth Manchester, the duo"s voracious and omnivorous musical appetites have pushed the studio as an instrument into new avenues to conjure profound feelings from the music. The Crying Out of Things cements The Body"s place as a leader of heavy new music, their boundless creativity, their defining ability to convey anguish, created with a visceral clarity to devastating impact.

Known for the monolithic force of their music and their inventive production techniques, The Body"s albums are benchmarks in the expansion and evolution of heavy music. Tightly packed with deceptively nuanced arrangements and exhilarating, challenging distortion, their compositions are possessed of an unmistakably singular sound. The Crying Out of Things is no exception; a culmination of all that The Body have done before, highlighting their mastery of dynamic and monumental music that pushes toward the unmistakable sound of oblivion The Body have produced a wealth of groundbreaking collaborations with the likes of Full of Hell, Thou, Uniform, BIG|BRAVE, OAA, and Dis Fig. The duo"s benchmark albums have, over the past 2 decades, changed the perceptions and directions of heavy music. The Crying Out of Things" embrace of noise is a comprehensive display of the multitude of expressions possible with abrasive sound, a skill that The Body have pioneered and refined. "I think for us the key to the way we use noise is, it"s not the only element," says Buford. "You"ve gotta really listen if you"re into noise. But it also has to have dynamics. Where, say, BIG|BRAVE (who have a similar ethos) expresses it in this more intellectual, minimalist way, The Body comes from an instinctual, maximalist way. We"re trying to cover it ALL." The Body stand alone in their ability to connect disparate influences and collaborators into a wholly original, potent and singular work. Alongside producer/engineer Seth Manchester, the duo"s voracious and omnivorous musical appetites have pushed the studio as an instrument into new avenues to conjure profound feelings from the music. The Crying Out of Things cements The Body"s place as a leader of heavy new music, their boundless creativity, their defining ability to convey anguish, created with a visceral clarity to devastating impact.

In a world of division, BEÃTFÓØT’s delayed second album is as an invitation to unite at a utopian celebration of life. Originally scheduled for release in October 2023 but postponed due to the ongoing Israel/Palestine war, the intrinsically-political ‘TOO CUTE’ has taken on more prominence than the Tel Aviv duo of Udi Naor and Adi Bronicki could have imagined.
“It's more urgent than ever for us to share this now, even though the album has been ready for a while,” says producer Naor. “BEÃTFÓØT are against any war, and believe that people should talk and not use violence - never,” he adds vehemently. “We feel the pain of Palestinians and Israeli loss of life, and are devastated by it. We hope the war will be finished soon and that peace and prosperity will come soon for both sides.”
While both Naor and vocalist Bronicki have been active in protests, charity work and community efforts over the past year - explicitly against the current government in Israel - such values of peace, acceptance, coexistence, inclusiveness and anti-hate from all sides are further instilled in the songs that form ‘TOO CUTE’.
“We're really trying to highlight that there are people here working tirelessly for a brighter future for our ill kids and our neighbour’s kids,” adds Naor, who is also co-founder of techno duo Red Axes. Having had to flee the country with his family, it’s through music that Naor and Bronicki have found hope.
In light of such conflict, the multi-layered yet sonically-bonkers record also enables escapism, which is needed more now than ever. Following their self-titled 2021 debut (released on DJ Tennis’ label Life and Death), ‘TOO CUTE’ is a refreshingly-ridiculous dark-rave rollercoaster which careers between hard-dance, big-beat, post-punk, techno, hyperpop, country and everything in between.
Things blast off at breakneck speed with the chaotic title track’s hyperpop snares, instantly-catchy lyrics (which feel ominously striking considering the war) and a stadium-ready chorus that erupts into rolling breakbeats, punishing EDM and even a nod to The Bloodhound Gang’s ‘The Magic Touch’. Somehow, we’re just three minutes into the record.
The tongue-in-cheek ‘HEART OF LEAD (TAKE IT OFF)’ still bangs despite its silliness, like if Kero Kero Bonito got in the studio with will.i.am. Later, ‘LEO’S SONG (THE SOCIAL MEDIA GUY)’s wittily satirical one-liners - “I just wanna get high with AI” - come thick and fast amid a barrage of glitches and guitars. ‘SUKC MY DIKC !!!’, meanwhile, pairs flute with pulsing hardstyle beats.
While their first record’s experimental explosion captured the pure carnage and energy of the BEÃTFÓØT universe in a conceptual fashion (though remaining polished in its own way), album two is primed to connect with a bigger audience thanks to its pop melodies, structures and songwriting.

Much of ‘TOO CUTE’ was written while the duo toured Europe for the first time, with rough sketches of tracks created in the moment during their incendiary live shows, and then recorded in planes and cars.
If their first record was a case of testing the vibes, album two is more assured and confident within their sonic world. “In the first album, we stepped into the club, metaphorically, and started making eye contact with everyone to figure out the energy,” Bronicki says. “But, this time round, I already had an idea of the story that I wanted to tell to these random people.”
And what is that story? “Radical silliness, or radical fun – that’s the essence of BEÃTFÓØT,” Naor confirms. “What we really want to do is goof around and have fun, and that brings out something very profound and honest,” he explains. A sense of nostalgic freedom is also at the album’s core, thanks to the removal of adult predetermined social constructs that decide how people should behave or look. “There’s a very honest and positive energy in holding onto your childlike wonder and trying to explore that with others,” Bronicki suggests, adding that “the adult world can be so wrong and angering”.
She feels this relates to both the album’s lyrics and the artistic state of mind that the duo always work to: “the goal is to feed a really thought-out and profound idea, but through a playful spoon,” she says. With this in mind, the recurring theme of ‘TOO CUTE’ stems from the duo’s “radical and lived experience of existing in a place that holds a lot of guilt and fear – because death is so imminent and prevalent in a very confronting way”. This is clearly represented on ‘FOOTYLICIOU$’, on which Bronicki screams “someone’s gonna die tonight!” before emphatically shouting “NOT ME!”
The album title is BEÃTFÓØT’s response to that: “We want to be a celebration of life, and that applies to all lives, of all backgrounds, including animals… that’s our guiding light,” Bronicki says.
“We create in the context of living in a country where the current government’s anti-democratic measures are limiting who is included in the celebration of life. Because different people are always being pushed out and excluded: whether it’s queers, Palestinians or people from different religions.”
BEÃTFÓØT - who have found a home among the LGBTQIA+ community - are fighting back against oppression. “We want everybody to come to the party and celebrate life together,” says Naor, setting out his and Bronicki’s mission… “and our goal is to widen that party as wide as it can go.”




c MANIAC ft. Princess Rani

e WHERE HAVE I BEEN ALL MY LIFE ft. Bugle Boy



c MANIAC ft. Princess Rani

[e] WHERE HAVE I BEEN ALL MY LIFE [ft. Bugle Boy]



[c] MANIAC [ft. Princess Rani]

[e] WHERE HAVE I BEEN ALL MY LIFE [ft. Bugle Boy]

Unbound by place or genre, mercurial, experimental pop duo Soft as Snow find freedom to intuitively reflect the disarray of human connection with their intricate, shape-shifting pop production. With each successive release, the duo evolves, unfurling into their own poetic sound, now fully realized on their intimate, third full-length, Metal.wet.

The oft-present trappings of male-female duos are eschewed here as the Berlin-based Oda Starheim and Øystein Monsen contribute equally across a canvas of analogue synthesizers, samplers, live drums, and processed guitars. At once a part of and yet apart from the zeitgeist, their forward-thinking modernity stretches the limits of expectations across Metal.wet's ten insouciant tracks. Fans of Tirzah, Hype Williams, and even Angelo Badalamenti will find much to love in this haunting work peppered with ASMR moments and rough sampling wrapped in high production –– twinkling glasses and sirens in the distance, rhythms and voices up front. The result is synth-driven, noisy, and dripping with laidback, confident sensuality.

Although Starheim's voice begins the album in a whisper, it quickly becomes apparent that the group has jettisoned their previous tendency to bury and distort her vocals. Nested in a bed of thorny electronics and broken rhythms, her multifaceted vocals might bring to mind Kazu Makino of Blonde Redhead or Hope Sandoval fronting Massive Attack. London MC Brother May (Mica Levi, CURL) makes an appearance on the driving and ethereal “Whip,” while Øystein’s own voice appears for the first time in a state of languid background haze.

Soft as Snow create and record across Europe. Defiantly averse to genre, the pair become vessels for their “electronic music pushed to the brink of collapse” (The Wire), previously released by Infinite Machine and Houndstooth. Informed by backgrounds in film and performance art, “there’s a surrealism that comes with watching Soft as Snow in the flesh,” (Vice) as seen at L.E.V. and Lunchmeat Festivals. Collaborations with visual artist Guynoid, designer AGF Hydra, and sculptor Camilla Steinum add depth to the corporeality of their “strange, mesmerising and utterly unforgettable” electronic experimentations. (DJ Mag).

The Boysnoize Records catalogue contains more than a decade of milestones in the life of Angeleno DJ and producer PILO. His signatures—a focus on sound design, and a digital crunch evocative of hardware rather than software—are present from the very beginning, but the evolution of Pilo’s skill and sophistication is clear as he stretches from electro to experimental to techno and back again in a slowly oscillating gradient. Yet despite his dozen or so releases in just as many years, G.L.A.M. (dropping November 8th, 2024 from BNR) is Pilo’s first proper album. That the record embraces the cyclical nature of time is apropos; the artist’s journey towards self-actualized mastery always ends with a new beginning.



Over the eight tracks of G.L.A.M., Pilo reaches deep into the dream that first ignited the passion that has driven him since. For a chosen few internet-connected American teens in the aughts, the sounds of European electro (and electroclash) trickled down their ethernet cables and instilled a fantasy of exotic, sartorial, sexually-fluid hedonism that felt a world away from the hard-edged masculinity of the hip-hop and skate cultures dominant at home. Pilo opens G.L.A.M. expressing this idealized fantasy with the track “Superstar DJ,” channeling the tongue-in-cheek self-celebritizing of Miss Kitten and The Hacker’s seminal work. “I’m a superstar, come meet me at the bar,” hiss Pilo’s heavily effected vocals, over a bassline of chopped mentasm synths driven by a swift, club-ready rhythm. The fingerprint of 2000’s electro a la International Deejay Gigolo Records is recognizably present, yet Pilo is too adept, too confident in his studio abilities to let his tracks rely on the retro. A great joy of this album is the future-facing richness of its production, always nodding to its spiritual guide of the past, while constantly breaking new sonic ground.



G.L.A.M. continues with “Girls Rule The World,” its vicious, droning bassline and sticky, titular hook making it the perfect electroclash soundtrack for a revenge plot on an ex-boyfriend. “What you Want” offers an instrumental exercise in “synthesizers are the new guitars,” and Pilo’s FX chops really shine as he warps and distorts his sounds into an undiscovered dimension existing somewhere between both. “Loverboy” enters the more melodic, Legowelt-inspired realm of electro, pushing above and beyond the foundation of analogue minimalism with flourishes of impressive sound design to construct something both climactic and cathartic. Scopa lends her perfect coldwave sprechgesang to titular track “G.L.A.M.,” with Pilo’s vocal processing offering surprises throughout and his FX chains wielded as instruments unto themselves.



On the track “A Slow Thinning Halo,” Pilo might be conjuring the haunting vocal chops and chiptune simplicity of early Crystal Castles, but the whiplash snap of his drums and sizzling production are all his own. “Spend the Night” is G.L.A.M.’s least nostalgic—and most unashamedly pop—offering, with the mic being passed between Sana and DEEVIOUS (previously featured on Pilo and Boys Noize’s 2023 track “Pvssy.”) DEEVIOUS’ sultry singing rides atop the bassline as it hypnotically struts across the floor, while Pilo’s skillful arrangement, deft rhythm programming, and atmospheric control elevate the songcraft into full-spectrum worldbuilding.



As the penultimate track, the contemporaneity of “Spend the Night” serves as transition away from the album’s previous, past-leaning exercises, allowing Pilo to step fully into the future with “One Last Embrace.” The closing track still references aughts sounds, but it borrows so widely and prolifically that Pilo’s reassemblage can only be described as singular. Here, Pilo pushes his engineering into psychoacoustic territory, as the eerie, beautiful melancholy of “One Last Embrace” explodes into a thrashing bassline that warbles like a drowning memory, struggling against the sinking weight of time. Pilo allows it to survive for 16 electrifying, gut-wrenching bars before letting go. In G.L.A.M., as in Pilo’s career, as in life, every ending can only be a new beginning.

The Mellons are set to enchant and enthrall with their new 7” release, ""Tell Me Why b/w Please Baby Please,"" marking a vibrant follow-up to their acclaimed 2022 album “Introducing... The Mellons!”. Continuing their homage to '60s psych pop, these singles encapsulate their signature blend of shimmering harmonies, intricate baroque touches, and rock sensibilities.

""Tell Me Why"" offers a lush tapestry of melody and emotion, while the B-side, ""Please Baby Please,"" emerges as a raw, urgent cry for relief amid life's chaos. With its grittier edge and desperate energy, this track delves deep into the turmoil of personal and collective struggles.

Adding an extra layer of intrigue, the B-side features a ghost track, an unexpected surprise that promises to captivate listeners with its enigmatic allure. Accompanied by a visually arresting music video directed by A.C.B. and filmed by the Captain, ""Please Baby Please"" embodies the Mellons' evolving sound and their commitment to pushing creative boundaries. Get ready for a sonic journey that mixes sunshine pop with stormy introspection, and let The Mellons' captivating new release sweep you off your feet.

"Beneath the Mask" marks a return to the more commercially viable jazz-funk of the Chick Corea Elektric Band’s earlier albums, and marks the end of the first stage in the band’s history, which began five years earlier with the group’s self-titled debut.

Energy meets craft on this superlative outing, which finds the five virtuoso musicians (Chick Corea, drummer Dave Weckl, bassist John Patitucci, guitarist Frank Gamble, and saxophonist Eric Marienthal) engaging in a highly sophisticated yet accessible set of music.

Massive in the scale of the influences it contains, the album travels from the heavy grooving funk-fusion of the title track “Beneath the Mask,” to the lively West African township jive of “One of Us Over 40.” to the mellow smooth jazz of “A Wave Goodbye,” and the grandiose ‘70s style prog-rock/fusion of “Charged Particles.”

Originally released on GRP Records in 1991, the album reflects the innovative spirit of The Elektric Band, pushing boundaries and creating a unique sonic landscape that captivates listeners.

Clothilde’s new album sounds like a constant departure from almost everything. Up until now, her music pieces seemed uncontrolled, a total commitment to the machines. She was, somehow, in between us - listener, audience - and the idea of a machine producing sounds she doesn’t seem to control. Of course, none of this was entirely true, she was mostly in control, but the fantasy, the orchestration of it was beautiful. It was sci-fi-ish, Metropolis-magnificent.

In “Cross Sections” everything is purposely under control. We feel, without being told, that Clothilde is directing the narrative, inviting us to partake of this raw and austere electronic sound, forcing us to learn to enjoy it. This is new. Whereas before she would expect you to stay put and listen, eventually you would understand and give in. Or your body would. Now she is telling you to be there, she doesn’t want to be alone, she wants us to feel this subterranean urgency at all costs.

The real eureka moment comes with “Medullary Rays”, when we start cohabiting with the sounds, when they feel familiar. The darkness becomes real; it is palpable how she is stretching each sound and making them come to life at every moment. It is violent, brutal. Like every track, it's a relief when it ends, it's like coming out of a car crash alive. Much of the A side of is Clothilde pushing the boundaries of her sound. She is not testing but finding new ground and sharing it with us. She is exorcising, demolishing and building over and over again, she is crying and screaming, dozing off with the demential levels of bass, making us constantly listen to alarm bells. She is scaring the shit out of us.

The B side keeps the levels of anxiety high up, especially on the 13-minute “Ring”. Surrealistic drones come and go, every second sounds like the end of something, the accumulation of tension is torrential and it never, never stops. We hope there is a conclusion to this. But there is not. “Cross Sections” builds and feeds on this darkness but, in a way, it is self-contained. Never explodes, never releases itself from itself. It is a continuous process of catharsis that it is never over. It never aims to be. Like, you know, life itself.

We've all been there. It feels familiar. Now it has a sound, or sounds. It can be heard and it is outer dimensional. “Cross Sections” is a tremendous effort from an artist trying to survive something. You never know what is. You don’t need to know what it is. It is just there. Cliché but it has to be said: highest possible volume on this one.

arottenbit is an electronic music project born in 2008 by Alessandro 'Otto' Galli (FOH Sound Engineer for Messa, Deafheaven, Pallbearer, Truckfighters, Bongzilla, Fuoco Fatuo). Playing solo with a 1989 NINTENDO GAME BOY or accompanied by hardcore punk drummer Guido Montanarini (PARADISE LOST, IMPLORE, THE SECRET), he soon found himself opening for some of his favorite bands like MELVINS, ATARI TEENAGE RIOT, THE BODY, MELT BANANA, AUTHOR & PUNISHER, FULL OF HELL and performing at major international festivals like ROADBURN 2022, HELLFEST 2022. "You Don't Know What Chiptune Is" is a bold exploration of the chiptune genre, pushing the boundaries of 8-bit music with an experimental and innovative approach. Each track on the album is a unique specimen, meticulously crafted to showcase the versatility and depth of chiptune sounds. The album is characterized by its inventive use of 8-bit sound chips, evoking the essence of vintage gaming consoles like Game Boy. arottenbit skillfully manipulates these sounds to create a wide range of textures and atmospheres. The lo-fi, raw quality of the 8-bit era is preserved, while contemporary production techniques enhance the overall listening experience.

PRESENTED FOR THE FIRST TIME EVER ON VINYL AS A DOUBLE LP IN A GOLD VINYL PRESSING WITH A FOLD-OUT INSERT

As music fans know, James Brown wasn't just the greatest funk and soul singer the world has ever seen - he was also a musical visionary and businessman, who surrounded himself with geniuses who made him better and pushed him further. From horn masters Maceo Parker and Pee Wee Ellis to vocalists Lyn Collins and Bobby Byrd, Brown was a musical A & R master, restless and always looking for the next big thing. Most times, that would manifest in the latest James Brown smash under his own name. But not always. His stable of talent was overflowing in the 60s and 70s, and, thankfully, the tape machine in his studio was always rolling. Originally released in 1988, during the era of hip-hop's golden age of sampling, it's no surprise that just about every note heard in this incredible collection has been used on not one, but multiple rap classics. Which, at the time, was proof of Brown's (and his crew's) staying power. But we are over three decades beyond those days now, and it has lost none of its musical potency. Diving deeper into the vaults than the also-incredible Part 1 of the Funky People series, there is not a weak track in the bunch. Moving beyond well-known JBs cuts, things get interesting from the get-go with Bobby Byrd's monumental groove "I Know You Got Soul". Hank Ballard and Marva Whitney also enter the fray, leading the way to Myra Barnes's emotional and powerful "Message From The Soul Sisters (Parts 1 & 2)" and Lyn Collins's slow, smoldering cover of Isaac Haye's "Do Your Thing." Politics even get the funky soul treatment, with Fred Wesley & The JBs "You Can Have Watergate But Gimme Some Bucks And I'll Be Straight" and "I'm Paying Taxes, But What Am I Buying?" And it should not be overlooked that Maceo & The Macks instrumental workout "Soul Power ‘74" even features a proto-sampling snippet from MLK’s I’ve Been To The Mountaintop speech from 1968. This is another amazing collection of James Brown's funky friends, without one second of filler, brought to you as a glorious 2-LP gatefold by your friends at Get On Down.

The debut album by much-loved Yorkshire band, Shed Seven, Change Giver released on vinyl for the first time since 1994, this reissue faithfully replicates the original Polydor UK pressing and is pressed on high-quality 180gm vinyl. Change Giver was released on Polydor Records in September 1994, on the leading edge of the Britpop movement and established the group as one of the most successful and cherished of the era. Although not garnering the headlines and controversy of other acts of the time, Shed Seven vocalist Rick Witter, guitarist Paul Banks, bassist Tom Gladwin and drummer Alan Leach - established a trademark sound and a fervent fanbase, resulting in a lengthy career and a string of hit albums. Formed in 1990 (and named after a railway shed) after making a name for themselves in their hometown of York, Shed Seven played London, gaining a reputation for their fearsome live shows an came to the attention of influential BBC Radio One DJ Steve Lamacq. After a bidding war, the group signed to Polydor in 1993, and group recorded what was to become Change Giver with producer Jessica Corcoran. First single, Mark/Casino Girl was released in March 1994 ahead of the album, and with each subsequent single release, the group pushed higher into the UK charts. Released as Britpop was accelerating, Change Giver was described by Melody Maker as "a chipper, cocky collection of brassy Northern pop songs." The album reached the UK Top 20,and established the band to be one of the most popular acts of the final years of the 20th Century. Listening to the album today, the bravado of youth combined with strong melody and powerful lyrics put the album on a par with early works of The Jam and Blur.

Amandra, half head honcho behind Ahrpe Records, goes for subtly evolving and droning atmospheres. With releases spanning electronic genres and record labels: Nous klaer Audio, AD 93, Tikita or Semantica, just to name a few; the French producer ba with coherence his own vision of acid and tribal rhythms that can be presented with either bright and soft feelings or through a
Brera Som Som EP

As always with Amandra, there is a blend of poetic and soft hidden touch given to the music through carefully crafted personal Som is a 4 tracker EP, recorded back when he lived in Warsaw Poland, showcasing the artists ability to navigate through nich double 12 package cherry topped with four intelligent and eclectic remixes from artists with their own unique identity: Shieldin Brainwaltzera.

Amandra on disc 1
Brera Som Som
I want my music to breathe dirty so its alive to my ears, trying to stay away from surgical, clean, electronic music. The Prophet recorded by hand, with assumed offbeat imperfections, as always. I wanted to get a naive Asian mood out of it, just to try and c track. I tend to think a lot about my tracks and their meaning more in terms of feelings, art and techniques than in terms of dee
dance floors or whatever. Brera Som Som is a try at using the chiaroscuro technique depicted in classical paintings for instance interesting focus on some very specific elements.

Cyborg Pelikana
Recorded out of a jam on a Soma Pulsar 23 and some heavy distorted synths, it ended up sounding like no other recordings bit different as I wanted to have a more composed like approach here.

Fanfaron
Here is a try at going jungle... with a Moog DFAM and a 303 processed through a Sherman Filterbank.

Prorokini
This one belongs to a phase where I was exploring the sampling side of electronic music. Until that moment I was building 100 based on raw drum machines and some processing, then started feeling how it would feel to sample some raw external beats and process them my way. I didnt pursue that sampling lead much afterward because it felt like a boring approach to me that
stood out anyway, like this one, which Im very proud of. The synths are clearly programmed on the Prophet 08, it cant go any Instruments than that, if you like them, go grab that synth

Remixers on disc 2
Cyborg Pelikana Shielding Remix
I liked the dry and direct qualities of the original track and wanted to maintain that feeling while collaging it using my own proc Recorded in my old home studio in Stockholm.

Brera Som Som Brainwaltzera Remix
no comment.
Fanfaron Whylie Remix
The remix was made using resampling techniques, the rhythmic noises were transformed into driving percussive layers pushi character. A more emotional overlay was added to the track based on the sentimental and personal approach I built through.

Brera Som Som Martinou Remix
Interpreting Amandras work has been on my bucket list for a while. Theres something in it that is innately humanizing and raw capture in my remix. The melody line from the remix is just a snapshot of a small part of the full original track, but it stuck with my improvisation to what you see before you today. With this remix I wanted to make something that would swell slowly and ring o
All original tracks written and produced by Amandra.
Remixes written and produced by Brainwaltzera, Whylie, Martinou and Shielding.
Mastered by Amandra.
Artwork by Neurotypique.

Moodena’s London-based imprint Tropical Disco’s latest offering is a shimmering journey into the heart of the underground, blending nu-disco, classic house, and contemporary electronic funk in a way that feels both nostalgic and totally fresh. Featuring four standout tracks from Vagabundo Club Social, Scruscru, Da Lukas, and Fun Kool feat. vocals from Bcleo and Anna Dee Tee, — the EP is a testament to the evolving sound of the dancefloor, where groove meets grit, and melody flirts with sultry rhythm. This release channels the spirit of sweaty basement parties, neon-soaked nights, and a collective desire to get lost in the music.

Opening the record is Colombian duo Vagabundo Club Social, presenting Latin-soaked funk colliding with shimmering brass instrumentation, creating a deep, rolling pulse that invites movement from the first beat. 'Zumba Z' is a track that feels right at home in a DJ’s warm-up set or closing down an all-nighter, with a hypnotic flow and vocals that seep into your bones.

Scruscru’s story pushes things deeper into late-night, cosmic territory. 'Konyaalti' is a lush, sun-drenched production, utilising sublime sax, Scruscru delivers a cut that's both playful and distinctly driving.

Da Lukas adds a sophisticated touch, remixing Rosario Cristofaro, and taking you on a slick ride that leans into Italo-disco influences. Swooning synths and crisp percussion form the backbone while gliding melodies create a sense of elevation. It’s elegant yet laced with energy, ideal for a peak-time set where the vibe is euphoric but refined.

Rounding off the release is veteran DJ and producer Gerardo Cinquegrana, whose playful Fun Kool moniker belies the serious funk he delivers in his production. German-born, and now Italy-based, Fun Kool’s sharp, syncopated rhythms and sexy vocal lines from Anna Dee Tee bring an irresistible groove to the forefront, with the kind of bassline that takes over your entire body and mind.

Altogether, 'Tropical Disco Volume 28' encompasses a record that’s both familiar and exploratory—rooted in the timeless grooves of disco and house but pushing forward into new musical territory and picking up sonics from different continents along the way. Whether you’re looking for late-night celestial cosmosis, sophisticated Italo-inspired dubs, or straight-up, no-nonsense funk, this release has something for every dance floor.

No one has lived a life quite like Marcos Valle. He became an overnight international sensation, fled a military dictatorship, dodged the Vietnam war draft, had his music sung by Homer Simpson, made enemies with Marlon Brando, and became an unsuspecting fitness guru for multiple generations. But to truly understand the great Brazilian composer, arranger, singer and multi instrumentalist, one must listen to his music.

Lead Single (Life Is What It Is) : Between the release of his first album in 1962 and today, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. He has also had his songs recorded by some of the all time greats, including Frank Sinatra, Sarah Vaughn, Sergio Mendes, Elis Regina, and (last but not least), Emma Button of the Spice Girls. He has also had his music sampled by Jay-Z, Kanye West, Pusha T and many more.


With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together.

“I believe my music is many things. It goes in different directions. I have many different ways of writing music, sometimes it’s melodies and harmony, sometimes the groove is the focus. But all the music I have made over my sixty year career is unified. It is all natural and it is all sincere. And this is what I wanted to bring to my new album.”

A prominent feature of Valle’s career has been his dual residence between Brazil and the USA. Originally moving over in the mid-sixties on the back of bossa nova’s international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. But the Vietnam War loomed and the threat of being drafted saw him return to Brazil. He spent the following years in Rio writing music for TV and film, as well as four cult favourite albums in collaboration with some of Brazil’s most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario and O Terco.

By 1975, Brazil's military dictatorship was at its most oppressive, making living and working increasingly difficult. Valle moved back to the US where he would reside in LA, writing songs for, and collaborating with the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, amongst others.

Túnel Acústico features two songs originally conceived during Valle’s time on the West Coast: “Feels So Good”, a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track “Life Is What It Is”, composed around the same time, with percussionist Laudir De Oliveira from the group Chicago.

Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the “Feels So Good” demo was restored with the help of producer Daniel Maunick, who also utilised AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware’s vocal hook, as well as extra keyboards and percussion.

Also written in late seventies LA, “Life Is What Is It” was co-penned by Laudir De Oliveira from the band Chicago and first released on the bands’ Chicago 13 album with lyrics by Robert Lamb. Another nod to his good times in LA, Valle recorded his own version for Túnel Acústico, upping the tempo and deepening the groove for a blast of irresistible summer soul.

On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc.

The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno (Bora Meu Vem), Céu (Nao Sei), and Moreno Veloso (Palavras Tão Gentis) as well as Valle's brother Paulo Sergio Valle (Tem Que Ser Feliz).

The album closes with "Thank You Burt (For Bacharach)", a tribute to the legendary composer who passed away in 2023.

Túnel Acústico will be released on 20th September 2024 via Far Out Recordings. Valle is set to tour Europe and America in support of the album.

Al Jarreau hat immer gesagt, dass er Al Jarreau-Musik singt, und er war wirklich einzigartig: Seine sechs Grammy-Awards und neunzehn Nominierungen als "Bester Sänger" decken nicht weniger als drei Kategorien ab – Jazz, Pop und R&B – mit anderen Worten, musikalische Genres interessierten ihn nicht wirklich. "Musik mag für andere Leute in Kategorien fallen, und ich verstehe das", sagte er, "aber für mich gilt: Wenn ich einen Song mag, muss ich ihn machen, und das war's. Wenn du zu meinen Konzerten kommst, setze ich mich auf deine Schulter und flüstere dir etwas ins Ohr. Ich öffne den Geist und gehe durch viele Türen." Diese Art von reichhaltigen, beschreibenden Bildern beschwört die Höhenflüge der stimmlichen Fantasie herauf, zu denen sein Gesang jederzeit fähig war. Er konnte einen Song plötzlich in neue und unerwartete Richtungen lenken. Er erklärte es immer so: "Wenn es ein Rückgrat für das gibt, was ich tue, dann ist es die Jazz-Umgangssprache."

Musik, Klänge und Rhythmus schienen ihn zu durchströmen, und das war kein Wunder. 1940 in eine musikalische Familie geboren, war er ein überdurchschnittlicher Student und schloss sein Studium mit einem Bachelor of Science in Psychologie und anschließend einem Master in beruflicher Rehabilitation ab. Und doch war die Musik nie weit von ihm entfernt. In den späten 1960er Jahren schloss er sich einem Trio an, das vom Pianisten George Duke geleitet wurde, und arbeitete daran, das Singen zu einer Vollzeitbeschäftigung in Los Angeles zu machen.

Zu diesem Zeitpunkt hörte ihn Siggi Loch, der damals ein hochkarätiger Manager bei Warner Brothers Records (WEA) war und später ACT Records gründete. "Ich sah Al Jarreau 1974 zum ersten Mal im Troubadour in Los Angeles und war sofort von seiner Stimme und seiner Bühnenpräsenz gefesselt", erinnert er sich. "Am nächsten Tag ging ich zu Mo Ostin, dem Präsidenten der WEA, um ihn davon zu überzeugen, ihn zu unterschreiben." Nach anfänglichen Widerständen erhielt Loch grünes Licht und 1975 erschien Jarreaus Debütalbum für WEA, "We Got By". "Ich habe Al nach Deutschland gebracht, bevor er in den USA Erfolg hatte", fährt Loch fort. "Al trat drei Nächte lang in Hamburg auf und ich schaffte es, Michael Naura, den Chef der Jazzabteilung des NDR, davon zu überzeugen, den dritten Abend für die Live-TV-Übertragung aufzunehmen." Diese Show machte Al über Nacht in Deutschland berühmt, und seitdem hat er immer einen besonderen Platz in den Herzen des deutschen Publikums. "We Got By" gewann den Preis der Deutschen Schallplattenkritik und seine erste Deutschlandtournee füllte große Konzertsäle.

Es folgte "Glow" (1976), das in Europa erneut gut ankam und einen zweiten Preis der Deutschen Schallplattenkritik gewann, in den USA aber nicht so gut ankam: "Das richtete sich an ein 'Smooth Jazz'-Publikum", so Loch. "Es hat Al nicht vor einem Live-Publikum eingefangen. Also bat ich darum, dass seine nächste Veröffentlichung ein Live-Album sein sollte. Mo Ostin stimmte widerwillig zu", und "Look to the Rainbow" wurde in Europa ein Riesenerfolg, "Als es in den USA veröffentlicht wurde, wurde es Al's Durchbruchsalbum und brachte ihm seinen ersten Grammy ein, also ist es wirklich richtig zu sagen, dass seine Karriere vor allem in Deutschland begann!", sagt Loch.

Jarreaus langjährige Zusammenarbeit mit dem NDR veranlasste Jörg Achim Keller, Chefdirigent der NDR Bigband, 2016 eine Zusammenarbeit mit dem Sänger vorzuschlagen: "Eine Produktion mit der Musik von Al und Ellington zu machen, war etwas, was ich schon seit Anfang der 2000er Jahre machen wollte", erinnert er sich. "Die Reaktion von Al war von Anfang an sehr positiv." Jörg bereitete eine Liste von einigen hundert Ellington-Titeln vor, und wie sich Jarreau später erinnerte: "Wir gingen einfach die Liste durch, und es war ein Fall von 'Oh, der funktioniert für mich' und 'Lass uns das als alten Darm-Blues machen – was für mich wichtig war, war, mich in der Musik wiederzufinden und vielleicht eine andere Art von Aussage über Ellington zu machen, damit die Leute die Musik auf eine andere Art und Weise hören konnten. alles, was sie vorher gehört hatten."

Beim Schreiben der Charts achtete Jörg darauf, Jarreaus Herangehensweise an das Material zu respektieren, indem er ihm Raum ließ. Tracks wie "I'm Beginning to See the Light" oder "I Got It Bad (and that Ain't Good)" geben den Solisten der Band ebenfalls Spielraum, um ihr Bestes zu geben. "Das sind hochentwickelte, intelligente Solisten, die mit jedem auf der Welt spielen können", sagte Jarreau. "Sie pushen mich, und ich liebe den Push, und sie lassen mich wie eine echte Sängerin klingen!"

Jarreau und die Band tourten in der zweiten Hälfte des Jahres 2016 mit der Musik, "Es gab immer noch einige Feinabstimmungen während der Tour, von Konzert zu Konzert", fügte Jörg mit einem Lächeln hinzu. "Er liebte es, diese Balladen zu singen – und jede hatte ein anderes Gefühl. "Am Sonntag" war ihm aber sehr wichtig. Diese Tabelle wurde zweimal überarbeitet, bevor er schließlich damit zufrieden war! Bei einigen Songs entschied er sich für einen reinen Balladenstil – 'I Got It Bad (and that Ain't Good)', einige Melodien wurden in eine Pop/R&B-Tasche gesteckt ('Lush Life', 'Come Sunday') und er liebte das 'Old Gutbucket Blues'-Feeling von 'I Ain't Got Nothing but the Blues'."

Rückblickend auf diese Sessions und Tour sagt Jörg: "Es waren Al's Stil und Persönlichkeit, die alles zusammenhielten. Das Ganze war eine echte Kombination aus der musikalischen Meisterschaft von Jarreau und Ellington – es hat das Publikum in ganz Europa angesprochen, sie liebten das Programm." Dieses Gefühl teilt auch Siggi Loch, der Jarreau mit der NDR Bigband in Paris erwischte: "Es war offensichtlich, dass er es wirklich genoss, diese Musik aufzuführen, und er tat es mit so viel Energie und Emotion, es war eine Freude zu sehen und zu hören. Leider verstarb Al nur wenige Monate später."

In vielerlei Hinsicht schließt sich mit "Ellington" ein Kreis: Es fühlt sich sehr richtig an, dass Jarreaus letztes Album auf ACT veröffentlicht wird, dem Label, das von Siggi Loch gegründet wurde, dessen starkes und unerschütterliches Eintreten für den Sänger ihn ursprünglich auf den Weg zum Superstar brachte. Und die Tatsache, dass es vom NDR und seiner hauseigenen Bigband aufgezeichnet wurde, ist eine passende Erinnerung daran, dass es sich um eben jenen Sender handelte, dessen TV-Sendung Jarreau einst über Nacht in Deutschland berühmt gemacht hatte. Darüber hinaus wurde "Ellington", genau wie "Look to the Rainbow", das Jarreaus internationales Durchbruchsalbum war, auch live aufgenommen. Manchmal gibt es Verbindungsfäden zwischen Ereignissen, die auf den ersten Blick in keinem Zusammenhang zu stehen scheinen, und das Ergebnis erweist sich nicht nur als besonders und magisch, sondern auch bedeutungsvoll und tief berührend. Das ist hier auf jeden Fall der Fall.



Stuart Nicholson, Musikjournalist und Autor

Body Meπa is the New York-based quartet of Greg Fox (drums), Sasha Frere-Jones (guitar), Melvin Gibbs (bass), and Grey McMurray (guitar). As luminaries in the intersecting traditions of improvised music, rock, jazz, fusion, and contemporary classical music, the four artists have each spent decades building diverse practices that extend beyond sound into multiple disciplines. Prayer in Dub, their second release on Hausu Mountain, follows the band’s 2020 album The Work Is Slow.

The album presents a band whose collective intuition as instrumentalists and live-in-the-room songwriters has deepened with each take that they put to tape. Prayer in Dub finds Body Meπa taking up new experiments with song structure and atmosphere, fanning out into a wide menu of both longer and more concise pieces that suggest deliberate shifts in energy and emotional resonance. The album presents a thrilling contrast between storms of precise rhythmic interplay and slowly expanding fields of multi-guitar and bass texture, alternately pushing the narrative toward explosive peaks of intensity and dipping into ambient expanses. Contemplative guitar lines, both bone dry and effected into total abstraction, ripple together over dub-indebted rhythm section grooves before shifting the dial towards beatific twang. Knotty distorted solos surge out of the fray over networks of arpeggios and drum fills.

On Prayer in Dub, Body Meπa pursues a strain of euphoria charged with elegiac grandeur and the looming potential to crumble at any moment under the psychic weight of confusion. It speaks to the band’s goals and general outlook that chaos never completely consumes their sessions. The band channels the kinetic energy of a “supergroup” of veteran musicians into communal works that evolve beyond their creators’ extensive pedigrees into new forms both intimate in sentiment and majestic in scope.

Body Meπa is the New York-based quartet of Greg Fox (drums), Sasha Frere-Jones (guitar), Melvin Gibbs (bass), and Grey McMurray (guitar). As luminaries in the intersecting traditions of improvised music, rock, jazz, fusion, and contemporary classical music, the four artists have each spent decades building diverse practices that extend beyond sound into multiple disciplines. Prayer in Dub, their second release on Hausu Mountain, follows the band’s 2020 album The Work Is Slow.

The album presents a band whose collective intuition as instrumentalists and live-in-the-room songwriters has deepened with each take that they put to tape. Prayer in Dub finds Body Meπa taking up new experiments with song structure and atmosphere, fanning out into a wide menu of both longer and more concise pieces that suggest deliberate shifts in energy and emotional resonance. The album presents a thrilling contrast between storms of precise rhythmic interplay and slowly expanding fields of multi-guitar and bass texture, alternately pushing the narrative toward explosive peaks of intensity and dipping into ambient expanses. Contemplative guitar lines, both bone dry and effected into total abstraction, ripple together over dub-indebted rhythm section grooves before shifting the dial towards beatific twang. Knotty distorted solos surge out of the fray over networks of arpeggios and drum fills.

On Prayer in Dub, Body Meπa pursues a strain of euphoria charged with elegiac grandeur and the looming potential to crumble at any moment under the psychic weight of confusion. It speaks to the band’s goals and general outlook that chaos never completely consumes their sessions. The band channels the kinetic energy of a “supergroup” of veteran musicians into communal works that evolve beyond their creators’ extensive pedigrees into new forms both intimate in sentiment and majestic in scope.

“Sleep Deprivation” began in 2006, during a time when our sleep patterns were drastically altered by constant travel and late-night gigs. This relentless cycle of broken sleep became a persistent part of our lives, and over time, we noticed something remarkable: our music became more emotional, raw, and vulnerable. Sleep, or the lack of it, affects every aspect of life, and its influence on our creative process was undeniable. For this album, we chose to embrace that emotional intensity, allowing it to take centre stage over traditional arrangements. Sleep deprivation blurs the lines of logic, and the part of the brain that usually handles structure and order begins to falter. In that haze, deeper feelings rise to the surface, unfiltered and honest. With this album, we surrendered to that experience, letting the emotional chaos shape the music, and the result is an exploration of what happens when you’re pushed to your limits, both physically and creatively.

On How It Ends (?), slinky melodies snake through nocturnal atmospherics, drawing you into a world built on poetic, painterly lyricism. Night Crickets, a long-distance groove affair that materialized during the drawn-out days of lockdown, has emerged once again to soundtrack our waking dreams.

David J (Bauhaus, Love & Rockets), Victor DeLorenzo (Violent Femmes) and multi-instrumentalist Darwin Meiners spearhead a loose collective of like-minded creative souls whom, through sheer tenacity and a burning desire to collaborate and create, transcend the restrictions of space and time. Audio files shared from Los Angeles to Milwaukee, from London to the San Francisco Bay, and the ghosts of Candlestick Park shimmer through the fog, coalescing in a glorious ‘gesamtkunstwerk’ that draws from the past, the present and the imagined future.

Declaring Bauhaus, Love And Rockets, and Violent Femmes iconic, foundational bands in the history of alternative music would receive little pushback from those in the know. San Francisco born artist Darwin Meiners is a fan of all three. A chance meeting with David J grew into a friendship, and Darwin not only became a bandmate, but his manager. After reaching out to Victor DeLorenzo through e-mail, Darwin met the Violent Femmes drummer after their set at Coachella. Soon, after the three collaborated on Darwin’s 2014 release Souvenir.

As the pandemic took hold, Darwin was looking for a new project to occupy the lock down time and approached Victor, who was keen to proceed and suggested that David join as well. The musical trust established between these three was immediate and Night Crickets were born. Within weeks a global process was initiated between them, the recordings eventually forming the album, A Free Society.

Following that release, inspired by how well – and quickly – they all worked together, the trio kept up their collaboration. “We are each free to discover musical connections that could only exist in an ideal creative setting” explains Victor. “We are very lucky to have three musicians who write, sing and play various instruments in one trio… our egos seem to melt into one when we face musical decisions, so our expeditions are always filled with pure discovery, humor and drive!”

How It Ends (?) was crafted with the same collaborative spirit as A Free Society. Each member contributed contributed unique elements to spur their collective creativity—whether a drum pattern, a lyrical concept, or a musical idea—and together, they expanded these initial sparks into the finished work. True to their approach, much of what you hear was captured in the first take, reflecting a genuine, unfiltered moment.

The music on the How It Ends (?) is a true evolution of the debut album. It is deeper and darker. Having said that, the dark tone is alleviated by a healthy measure of the buoyant, bouncy and melodic. “Much of the new material is very psychedelic and the contrast between this heavy, dark psychedelia and the more uplifting pop elements puts me in mind of The Beatles’ ‘Revolver’ album to some degree,” tells David J. “The recording process for the new album was exactly the same as the first in that we all recorded remotely, taking turns to share files and reacting spontaneously to the previous track, overdubbing then passing on once again until we all felt that the track was done.”

“While we didn’t start with a specific theme, the album emerged as a contemplative exploration of endings” says Darwin. “It touches on the loss of individuals, the shifting of ideas, and the fragility of systems. Beneath this sense of darkness and finality, however, there are threads of beauty and glimpses of hope. We invite you to immerse yourself in the album and experience the journey we’ve embarked upon.”

The 24 songs on this double album are in some ways a completion. Together with Young Man Songs here are nearly all the songs Kerry Lee Crabbe and Daryl Runswick wrote (and Daryl sang) which are good enough to be issued. The subject matter here is wider ranging than on Young Man Songs:love songs, but also family, heroes and antiheroes, zen, celebration, nostalgia, philosophy, life and death.

Daryl Runswick writes: "I first set Kerry Lee Crabbe's words to music in 1967; for the last time in 2010. Our most prolific period was 1970-1980 during which time we had considerable success as a songwriting team, though we didn't have big hits. The pinnacle for us was when Cleo Laine recorded a whole album of our songs (One More Day: well worth looking out for on vinyl or CD). There are a number of reasons for our lack of hits: songwriting was for neither of us our main job - not 'the principal source of his revenue' as Paul Simon put it (One Trick Pony) - we did it in our spare time. Also, neither of us had any interest in being an entrepreneur, nor did we employ a manager to push the songs; also, perhaps we were snobs who disdained moneygrubbing; but perhaps the main reason was that these are art songs: art songs in the style of pop music, yes, but not aimed (other than tangentially) at the commercial market.

We'd have loved to have hits but that's not why we did it and we didn't bother overmuch flogging our wares around. Kerry and I were introduced to one another as undergraduates at Cambridge University. Kerry had written the book and lyrics for a musical (Someone is Squeaking) and I was instructed by Clive James, then President of the Footlights Club where I was Musical Director, to compose the songs. It was put on at the Edinburgh Festival Fringe in 1967 with Julie Covington in the lead role. Kerry directed and I was musical director, playing piano in the accompanying trio. After that summer I went down to London to be a jazz bass player while Kerry had a further year at Trinity College, Cambridge. After he came down, we got together again and continued making songs."

The acclaimed trio of Mikkel Ploug, Sissel Vera Pettersen, and Joachim Badenhorst is set to release their fourth studio album, Lento, on November 1, 2024, through the Klein label. Following their celebrated albums 'Equilibrium', 'Walking Voices', and 'Liquid Light', this new release further cements the group’s position as an innovative voice in contemporary music.

Lento offers an evocative blend of jazz, folk/world, classical, minimalism, and avant-garde influences, crafted through a dynamic mixture of free improvisation and original compositions. The trio’s unique synergy is evident in every track, pushing the boundaries of genre while maintaining an intimate and expressive core.

The trio comprises of the Norwegian vocalist and saxophonist Sissel Vera Pettersen, a multifaceted artist known for her collaborations with Chick Corea and Marilyn Mazur, Her contributions to Lento showcase her versatility, moving seamlessly between voice and saxophone with a fluidity that anchors the group’s explorative sound.
On guitar is Danish virtuoso Mikkel Ploug, who is renowned for his work with saxophonist Mark Turner and composer Bent Sørensen, Ploug's playing on Lento is both intricate and expansive. Completing the trio is the Belgian reed player Joachim Badenhorst, whose talents on the clarinet have earned him a spot in Downbeat Magazine’s "Rising Star" polls. Badenhorst is known for his work with Han Bennink Tony Malaby’s, Kris Davis and his own projects Carate Urio Orchestra and Zero Years Kid.
Having garnered praise from critics and fans alike for their previous albums, the trio continues to evolve and captivate. Lento is a testament to their ability to fuse disparate musical elements into a coherent, deeply moving whole. Expect meditative passages, explosive bursts of improvisation, and moments of pure musical dialogue that transcend traditional boundaries.

Military Genius (aka songwriter/producer Bryce Cloghesy) today announced his new album Scarred for Life will be released November 1st, 2024 via Unheard of Hope. The follow-up to his atmospheric 2020 debut Deep Web, Scarred for Life is a genre-flexing mix of bass-heavy R&B, spaced dub, and jazz that is newly grounded within a more traditional rock framework and centered on lyricism. Lead single “Darkest Hour”–out now alongside a self-directed video filmed near his new desert home in Joshua Tree, California–reflects a head first journey into the unknown. "’Darkest Hour’ encapsulates the feeling of being swept away by time, into an endless night,” says Cloghesy. “There is a certain melancholy in leaving the past behind, dwelling on simpler, antiquated ways of life as we are pushed forward. This message is poignant on a personal level–becoming a father has led me to contemplate my own childhood, witnessing a purity of emotion prior to self-awareness. This applies to a broader collective consciousness too, as the march of progress fundamentally alters our shared experience. It's all about embracing the journey, stepping beyond the point of no return, and facing the future."

Military Genius (aka songwriter/producer Bryce Cloghesy) today announced his new album Scarred for Life will be released November 1st, 2024 via Unheard of Hope. The follow-up to his atmospheric 2020 debut Deep Web, Scarred for Life is a genre-flexing mix of bass-heavy R&B, spaced dub, and jazz that is newly grounded within a more traditional rock framework and centered on lyricism. Lead single “Darkest Hour”–out now alongside a self-directed video filmed near his new desert home in Joshua Tree, California–reflects a head first journey into the unknown. "’Darkest Hour’ encapsulates the feeling of being swept away by time, into an endless night,” says Cloghesy. “There is a certain melancholy in leaving the past behind, dwelling on simpler, antiquated ways of life as we are pushed forward. This message is poignant on a personal level–becoming a father has led me to contemplate my own childhood, witnessing a purity of emotion prior to self-awareness. This applies to a broader collective consciousness too, as the march of progress fundamentally alters our shared experience. It's all about embracing the journey, stepping beyond the point of no return, and facing the future."

2024 is the year that saw iconic trance-act 2 FLYING STONES resurrect.
Early trance with a capital T
Remixed by trance GRANDmasters M.I.K.E. PUSH and NICO PARISI.

This is without a doubt the hottest group of the year in its genre. Every release is sold out in hours.
2 Flying Stones have gained a massive fanbase in the past 30 years thanks to their iconic hits MAYBE TOMORROW, NUCLEAR JESUS IN PARADISE OF LOVE and A GREAT DAY.

2 of these classics have been remixed by none the less than M.I.K.E. PUSH (known from his classics THE LEGACY, TRANZY STATE OF MIND and UNIVERSAL NATION) and NICO PARISI, one of the biggest names in the Benelux underground trance-scene, part of Aqualord and original author of the 2023 monsterhit METRO (covered by Mau P & Kevin De Vries)

Sly Dunbar and Robbie Shakespeare or Sly and Robbie as they are affectionately known are the drum and bass backbone of Reggae Music, they have played on, produced, invented, reinvented more records then many of their contemporaries put together.

Sly Dunbar born Lowell Charles Dunbar on 10 May 1952, Kingston, Jamaica, drummed his first session for Mr Lee Perry which included a Jamaican hit ,a track called 'Night Doctor', before moving on to the group Skin, Flesh & Bones who had a residency at Kingston's famous 'Tit for Tat' club. This band would evolve into the Channel One house band The Revolutionaries where Sly named after his fondness of the band Sly and the Family Stone would begin to play alongside a bass player who would become his long standing partner in music, namely one Robbie Shakespeare.

Robbie Shakespeare born 27 September 1953, Kingston, Jamaica, had worked his way through session bands including the legendary Aggrovators before uniting with Sly Dunbar in The Revolutionaries. Both musicians had worked with other respective bass / drum players including such figures as Lloyd Parks bass, Carlton 'Santa' Davis drums, but everything seemed to fall into place when they worked together.

They also both had a quest to push the boundaries of reggae music, which they would do throughout their careers, over many sessions to numerous to mention. But highlights would include the groundbreaking Mighty Diamonds 1976 set 'Right Time' with its fresh rockers rhythms which lead the way in the 1970's. Also their work with the bands Culture and Black Uhuru the later of which they toured extensively with, spreading the reggae vibes across Europe and America. Not to forget to mention their Taxi label / productions which are always inventitive whether its in the reggae field or outside where their playing / production skills are much in demand.

The third piece of this jigsaw is the mighty Mr Bunny 'Striker' Lee who brought these legends together. Born Edward O'Sullivan Lee 23 August 1941, he must be one of reggae's most underrated producers. Leading the way in the 1970's especially in the dub field and being one of the early exponents of a King Tubby remix ,which would see nearly all his 7'' releases carrying a Tubby reworking on its flip side. Bunny started his musical career in 1962 working for Duke Reid's Treasure Isle label and soon moved into the world of production gaining his first hit in 1967 with 'Musical Field' by Roy Shirley for the WIRL label. The 1970's was a very productive time for Bunny Lee and saw the launch of his LEE'S label which was producing hits in Jamaica. Not having a studio of his own and renting studio time from the existing establishments like Randy's Studio 17 and Channel One he had to have a crack team of session players to carry out this task, fast and efficiently. This happened firstly under the guise of THE AGGROVATORS see The Aggrovators dubbing it studio 1 style JRCD005 and then with the group of musicians THE REVOLUTIONARIES[ see The Revolutionaries at Channel 1 dub plate specials JRCDOO3]. It’s here in the latter of these groups that Bunny matched Sly and Robbie together for the first time and it’s this match made in heaven that these tracks on this release are culled from. Sessions that Bunny Lee produced with Sly and Robbie during this magical 70's period. These rare dubs are taken from the original master tapes, you may have heard the tune before but not these versions. So sit back and enjoy Reggae Musical History in the making....

Orchestre Tout Puissant Marcel Duchamp’s latest album, “Ventre Unique”, is a dynamic exploration that seamlessly blends folk, krautrock, post-punk, and African rhythms, delivering an emotionally charged yet exuberant listening experience. Helmed by Geneva-based Vincent Bertholet, the orchestra’s ever-evolving lineup and distinctive sound pay homage to both African music traditions and avant-garde artist Marcel Duchamp, while pushing the boundaries of contemporary music.

Recorded over ten days in the outskirts of Paris at Studio Midilive, the album features an eclectic international cast of 12 musicians. The result is a beautifully organic sound that balances Bertholet’s simple, loop-based compositions with intricate arrangements of marimba, horns, strings, and angular guitars.

Ventre Unique is the group’s sixth album and follows their acclaimed 2021 release, “We’re Ok But We’re Lost Anyway”. While their previous work captured the disarray of the world during the pandemic, “Ventre Unique” reflects on shared human experiences, inviting listeners to find common ground through music

* Strictly limited-edition 5x12” vinyl hard case box with spot varnish finish on the front and back and full colour sleeves for each vinyl.

* V Recordings marks three decades of groundbreaking Drum & Bass with '30 Years of V', an album featuring 22 fresh tracks that honour the label's rich legacy while paving the way for its future.

* Presented as a collectable 5 x12” Vinyl hard case box set, with spot vanish finish, this project links the past of V to it’s future and shows the label is as dynamic and relevant as ever.

* A selection of brand new music, from the current V family as well as remixes of some recent big hitters and seminal classics. Over recent years, V Recordings itself has continued in the mold in which it was formed, releasing music from some of modern-day D&B’s most exciting, innovative and committed artists.

* This project which label head honcho Bryan Gee has painstakingly compiled over the past few years, sees the likes of L-Side, Alibi, Break, Serum, Dillinja, Voltage, Paul T & Edward Oberon, Command Strange, Need For Mirrors, Chimpo, Sl8r, Think Tonk, Level 2 and more all on board to see their name alongside V’s iconic sun logo and celebrate this milestone.

* It is a celebration of V Recordings' contribution to our global scene, underscored by support from industry icons like DJ Marky, Watch The Ride, Break, Fabio, Grooverider, Born On Road, Kasra, S.P.Y, Roni Size, Ed Rush, Caylx, Camo & Krooked and many more.

* Since its foundation in 1993 by Bryan Gee and Jumping Jack Frost, V has been a cornerstone of the electronic music world, pushing the boundaries of Jungle and Drum & Bass. The label has been instrumental in the careers of many genre-defining artists, constantly evolving while staying true to the roots of Drum & Bass culture. '30 Years of V' embodies this journey, offering a blend of nostalgia and innovation that appeals to long-time fans and newcomers alike.

PIFF Records welcome 4 in - demand artists to the label on their latest release, also available as a limited 500 press vinyl release. Home to forward-thinking house, trance, and techno, PIFF Records boasts a diverse yet united musical output. Cosmic, dub - driven techno, atmospheric house beats, and everything in between coalesces under the imprint’s distinctive output of thoughtful, club - ready sounds. All aspects of PIFF Records come together on this release as the featured artists balance the cerebral and visceral in their productions.

Cybernet kicks off the release with Resonant Shifter. Pumping kicks lay the foundation for captivating synth arpeggios and warped call and response basses in this ‘90s - inspired cut of contemporary progressive trance. The perfect soundtrack for any location from sunset on the Ibiza seafront to sunrise as the shutters open at a warehouse rave.

Goa elements are out in full force on Hoe Down, courtesy of Glen S. Squelchy 303s, low textures, and metallic arpeggios resonate above a pulsating bassline and weighty kicks, relentlessly pushing forward and ascending to a new sonic dimension - taking you along for the ride.
Body Clinic substitutes the progressive trance for progressive house on Love X, bringing down the tempo but keeping intensity intact. An infectious, syncopated plucked bassline dances around groove - rich drums, psychedelic effects and leads indebted to early ‘90s releases. A masterful blend of the past, present, and future together on one track.

Closing the EP with Empty Clip, Tom Jarmey disrupts the 4x4 rhythms of the preceding tracks w ith a genre - bending cut of electro - infused breaks. Two-step drums are matched with clinical sound design, deep basses, and mystical arpeggios. Sure to add depth to any set and turn heads in the process.

Elias Rønnenfelt is a musician and poet best known as the lead singer and lyricist of Iceage. Heavy Glory is his debut solo album. Out October 25th via Escho. Heavy Glory was recorded in Copenhagen in chapters and moments over the course of a year. Collaborators include Iceage's Dan Kjær Nielsen, Danish punk godfather Peter Peter, and singers Joanne Robertson (Elias and Joanne have collaborated before, on a number of recent Dean Blunt releases) and Fauzia. "I've done this so many times," Rønnenfelt explains, speaking of the process of crafting a long player, "but capturing and crystallising an album remains a singular ritual, just with different circumstances. We are capturing something that is hard to hold down." Heavy Glory is a record that examines all the things that lovers do, from the most desperate to the most pure. The lover haunts the record, reappearing and provoking Rønnenfelt, pulling him in and pushing him away. Songs like "Close" describe the line between jealousy and protectiveness. "Unarmed" is a song of surrender. "River of Madeleine" harnesses toughness in the name of preservation, staying up all night to protect his lover's dreams. "Stalker" is an epic third-person story song in the tradition of the murder ballad. The record closes with two covers. The first, Spacemen 3's "Sound of Confusion," is a mission statement of the life Rønnenfelt has found and inherited in music. "Here it comes," the song famously promises, and flares out into noise. It is a joyful noise, because this life, in all its grit, is the life he chose. The second, Townes Van Zandt's "No Place to Fall," is a sweet plea, Rønnenfelt's final invitation to join him on his journey. This journey - this story, this record - will repeat and continue. It never stops. Rønnenfelt's life as an artist results in a sound that wobbles and rocks but never loses its centre, both fragile and tough, and always moving forward. It is dreamy yet bombastic, held together by the passion of certainty. Co-produced by Rønnenfelt and Nis Bysted.

6 years after their last album, fav favourite Kites, Submotion Orchestra make their long-awaited return with the remarkable Five Points EP. Recorded over a period of two months at band member Taz Modi's new studio in the Sussex countryside, it sees the band plough a path through electronica, jazz, soul and ambient in their own singular way. After a period of time spent looking back at their oeuvre, with the release of two Unplugged collections as well as classic debut album Finest Hour on vinyl for the first time, the refreshed, slightly older and wiser band set their sights firmly ahead, and the result is music that sounds like nothing they've done before.

Whilst featuring the uniquely fragile voice of Ruby Wood and the live instrumentation that has been their calling card in the electronic world for so long, the EP also delves into rhythms, soundscapes and effects that push their recognisable sound as far as it can go, and acts as the perfect taster for the forthcoming album that the band are currently recording.

Created as a seamless listening experience, the EP opens with the evocative and atmospheric 'Start Point', as dreamlike synths and brass mix with wordless harmonies straight from the heavens. 'Hope' continues the mood, warm analogue synth patterns combining with fragmented vocals on a persistent build-up to an emotional climax. Lead single 'Side One' cheekily nods to Submotion classic 'All Yours', before moving into newer territory, where Ruby Wood's vocals slowly become distorted and twisted, the perfect backdrop for this story about the loss of hope. Flowing joinlessly into its mirror image 'Side Two', we see the instrumental prowess of Submotion Orchestra which has so long been their defining characteristic in full flow. Finally, 'End Point' brings the EP to a moving and wistful climax, telling a tale of the wisdom that can only come after bitter experience.

Weval (consisting of Harm Coolen and Merijn Scholte Albers) are an Amsterdam-based duo who have established a solid reputation across the globe for crafting highly textured and sophisticated electronic music. They announce a new EP called ‘Night Versions’ which contains brand new, club-focused alternatives to key tracks from their recent critically acclaimed album, ‘Remember’. ‘Night Versions’ is set to release on Ninja Tune imprint Technicolour on 4th October. With the announcement Weval share a Night Version reimagining for title track “Remember".

Speaking about these new versions, Weval say, "It was so much fun to return to the material and make some bold moves. Just to see how far we could push the tracks with the dance floor in mind. We've been road-testing a few of these in our DJ sets lately, and it's so rewarding to watch people dance and hear the tracks blasting on the dance floor. It's addictively fun to experience and see the second life of the songs from the LP."

‘Remember’ embarked on a high energy journey of nostalgic memories and euphoric emotions, with elements of pop, dance and every genre in between being thrown in and whittled down to make an intense, spontaneous and substantial work. PopMatters noted the album as "a kaleidoscopic, gut-turning, jaw-dropping wondrous journey" while it received additional support from the likes of Cool Hunting, Clash Magazine and Stereogum among others.

Dar Embarks, the hardware-based collaboration of Chicagoans Dan Jugle and Ken Zawacki, share four precious recordings of bouncing, highly-acidic machine funk and industrial ambiance. This is a posthumous release for Dan Jugle, who departed in 2018.

Dan was a multi-instrumentalist and a pillar of Chicago's techno scene who left an indelible mark on it with his distinctive sound. His infatuation with electronic music began in the mid-90s when he found his way to Midwest raves as soon as he was old enough to drive to them. He began working with analog gear to create his own expression of the music he heard there. Jugle, Zawacki, and Mike Broers started experimenting with a thrifted Roland TR-707, figuring out the controls through trial and error. They performed together as Ghost Arcade in the early 2000s.

Years later, Jugle and Zawacki reunited creatively, forming Dar Embarks and building the foundation for their project. Jugle gained a reputation for crafting washed-out, saturated club tracks as Juzer, a project formed with Beau Wanzer. Dar Embarks' debut EP Fleer (released on CLEAR USA) and Juzer's Horseplay (on Anthony Parasole's label The Corner) were both released in 2014, both elevated by Dan Jugle's live-action knob-twisting and button-pushing composition inspired by sci-fi and comic books. Despite his early passing, Jugle's legacy lives on through his work and his passion for Midwest techno that his friends and fans still remember and carry.

Lovingly wrapped up and presented to Acid Camp by Ken, these heaters are finally set free to move asses and minds.

UK supergroup Flock return with their anticipated sophomore album "Flock II". Comprising an exceptional line-up featuring Bex Burch (fresh from her debut solo album on International Anthem), Sarathy Korwar, Tamar Osborn (Collocutor, Dele Sosimi, Unknown To Known), Danalogue (The Comet Is Coming / Soccer96) and Al MacSween (Kefaya), the new recordings showcase Flock"s ability to push the boundaries of the composition process and craft unique tracks based on their collective spirit.

"Turmion Kätilöt, the Finnish-singing industrial and electronic metal band hailing from the barren wastelands of Savo, is rapidly becoming a new favorite among open-minded metal fans in the mid-2020s. The odds of their rise to prominence are nothing short of great.
Known for their ecstatic and theatrical concerts, Turmion Kätilöt invites you to dive into their twisted world of ""disco metal."" The current lineup features singers MC Raaka Pee and Shag-U, guitarist Bobby Undertaker, bassist Master Bates, keyboardist RunQ, and drummer DQ. Since the early 2000s, this vivid sextet has been delivering a unique blend of electrifying heavy music, characterized by its peculiar, perverted, and catchy style. Their journey includes numerous sold-out concerts, gold and platinum records, and Emma nominations (Finland's equivalent to the Grammys).
Turmion Kätilöt's depraved disco ball has also shone beyond Finland. Many fans remember their legendary European tour with Pain in 2011. In the 2020s, their fame continued to grow, highlighted by their selection as the opening band for Nightwish's sold-out European arena tour in 2022.

Now, Turmion Kätilöt is ready to unveil their latest creation: ""Reset."" Founding member and main songwriter MC Raaka Pee explains, ""Reset is simply the perfect name for our new studio album. For us, Reset is more about taking advantage of everything we've learned over two decades and then adding new nuances to our metallic disco vortex."" With twenty years and ten studio albums behind them, Turmion Kätilöt continues to push their boundaries. ""We have relentlessly raised our own bar with every record,"" says the band. ""Reset is our best album to date, and we simply couldn't be more satisfied.""

""Reset"" features all the hallmarks of Turmion Kätilöt: twisted synths, underfoot grooves, pounding beats, and cryptic lyrics, all with a stronger musical vision than ever before. The album is described as a ""bastard child"" of their previous records, with new spices added. The vocal parts, a mix of fierce screams and melodiousness, add a special twist.


Line up:
MC RAAKA PEE -vocals
SHAG-U - vocals
MASTER BATES - bass
BOBBY UNDERTAKER - guitar
DQ - drums
RUNQ – synths
"

Bassline veteran and all-round soundsystem sorcerer Marcel Deptford lands on Sneaker Social Club with two ruff-n'-tuff rave-n'-b re-flips that run as a prelude to big things to come.

This is the first time you will have heard a record under the name Marcel Deptford, but he's got serious skin in the game with an imposing history in the legendary bassline scene from the late-00s. His records as DS1 are the stuff of legend for anyone keyed into the Niche-centric sound, but more recently he's put out some serious heat as Haider running his own Breaker Breaker label and popping up on Aus and the like.

If you're a fan of millennial RnB there's every chance you'll recognise the vocals that breathe life into Deptford's two tracks for this Sneaker release. Moving beyond simple edit territory, the voices are bedded deep down into gritty rave productions that boast the kind of dirt bag sonics that call straight back to the OG days of breakbeat hardcore. 'Rock The Boat' has bloated bass pushing into the red, clattering breaks chopped up with a rugged swagger and a dreamy, haunted dose of dub poured all over the vocals.

'Make It Hot' has a lighter, swung feel which nods to garage, but there's still plenty of weight on the low end. Once the lead vocal sample steps back to open up the space, Deptford's knack for strong melodic hooks comes through in a blown out arp line which the bassline dutifully follows.

Hitting every sweet spot from the low-down dirty rave receptors via moody head-nodding restraint on to iconic vocals, Marcel Deptford shows exactly what he's capable on this release ahead of a more extensive dive into his legacy, due further down the line.

Recorded in 1966 in Paris, this double album captures the revolutionary energy of the free jazz pianist. These recordings, featuring Jimmy Lyons (saxophone), Alan Silva (bass), and Andrew Cyrille (drums), explore complex improvisations, where melodic lines burst into avant-garde structures. Taylor, with his percussive and abstract playing, pushes the boundaries of traditional jazz, creating an intense and dynam- ic sonic experience. This album is a testament to his contribution to free jazz.