quête:r mix

The Lilac Time are original members Nick & Stephen Duffy, with Claire
Duffy who joined in 1999 and helped out immeasurably here by Ben
Peeler
John Paterno returns to mix and master as he has done since No Sad Songs of
2015.Without conventional drums or bass their fondness for country and folk
hues are clearer. These are unequivocally and absolutely the best songs Stephen
Duffy has ever written in his twenty or so long playing album career. The first
single release is "A Makeshift Raft". A song that asks if those seeking freedom
need drown, then ponders the inevitability of continuous wars. It praises the
America of Allen Ginsberg before a few bars of yodelling. It ends by eulogises
fingers, guitars and songs of love. Something for everyone then. The song is
accompanied by a video created by Martin Carr.They love being who they are and
they love this album and they hope you will find time to dance till all the stars
come down with them.

Galcher Lustwerk has put together a collection of 10 ambient cuts here that he wrote to score a film by Josh Kline, a fine artist whose solo exhibition "Project for a New American Century" recently opened at the Whitey Museum of American Art in New York. It is a dystopic science fiction movie that details what happens after the climate crisis really takes hold. The music is an esoteric mix of free jazz, drones and bleeped-out ambient that is alive with busy, fizzing frequencies. It's a dense, textural brew that collides synth and sax sounds into a new sort of tribute to Ridley Scott's Blade Runner score.

“Insomnia” is the third solo album from Italian jazz beat maestro Koralle for Melting Pot Music. Without exaggeration, it can be described as the most mature and advanced piece of work by the beatmaker and producer from Bologna. On “Insomnia” Koralle invites some of his favourite artists and musical peers to collaborate and exchange sounds, ideas, beats, melodies and lyrics. The guest list includes fellow producers & musicians FloFilz, Pachakuti, Figub Brazlevic, Kuranes, Phoniks and Brous One as well as rappers and singers Kid Abstrakt, KeepVibeNear, Ryshon Jones.

All tracks produced and mixed by Koralle. Recorded at Godblesscomputers Studio, Bologna (Italy). Mastered by Roe Beardie. Artwork by Giulia Dall'Ara. Layout by Chicken George.

After taking time out from working together to focus on separate musical projects, maverick composer Alan Roberts (Jim Noir) and crowd-rousing vocalist Leonore Wheatley (International Teachers of Pop / The Soundcarriers) have re-joined forces to introduce Co-Pilot. Each the other’s wing person, they’re plotting an escape through Manchester’s claustrophobic grey skies with the pencil case colour of a hand-sewn multi-coloured primary school patchwork quilt. “We are both the creators in charge of navigating Co-Pilot’s overall sound which changes from track to track,” Leonore hints at what to expect. “There are about 6 different genres on one album, it's a pick n mix record!”


Happy in the haze of many boozy hours the album was recorded over just a few months whilst holed up and hanging out in Al’s city centre Dookstereo studio. The former Mill allowed the pair to relax, laugh and create without constraint. Armed with their original demos and vocal recordings from Al’s flat, they’d nip by the offie to pick up some Dutch courage before setting to work: building arrangements from a drum beat and basic chord pattern, the pair were so in tune they rarely spoke, allowing only the music to lead the way. “We’d communicate through nods of agreement or grimaces of dismay,” Leonore recalls. “Using the instruments with Al in production mode, we let the sound dictate the process whilst being drunk enough to follow it.”
The sound of life coming full circle after honing their separate crafts, Leonore had previously played keys and vocals in Jim Noir’s live band before moving on to front International Teachers of Pop for two critically lauded albums of joyous dancefloor filling bangers - their self-titled debut (2019) and Pop Gossip (2020). During that time Al would further expand Jim Noir’s universe with AM Jazz, which was celebrated as the no.1 album in Piccadilly Records’ ‘End of Year Review’ (2020), followed by the Deep View Blue E.P. (2021) cementing his status as one of Manchester’s finest songwriters.
As Leonore added her vocal magic to Al’s early demos of what would eventually become Co-Pilot’s ‘Spring Beach’ and a crooked original version of closing track ‘Corner House’, the vibe was prophetic “like the ending of Grease as Danny and Sandy take flight through the clouds”, letting their imaginations fly. The songs were the catalyst to spark a new phase of the pair working together, picking up where they left off. “From messing about with sounds during rehearsals in the very beginning it was always clear we liked the combination of sounds we made,” Leonore recalls.
Powered by a ‘try anything’ approach, Co-Pilot blends the musical DNA of what you’ve come to expect from each of the pair’s previous flight paths. “Whatever is switched on or nearby gets used. There's no 'correct' for us. If it sounds good, record it,” Al tells. United through typically turbulent wonky pop and lurking samples, whether culled from 70s TV themes or recreations of past and found sounds (see Al’s 60s tropicalia guitar on ‘Brick’, or the innocent ‘Swim to Sweden’ which opens with an ice cream van jingle Al recorded from his bedroom window) their process offers up a bucket load of Easter eggs. The album even features snippets from dearly departed pal Batfinks whilst ‘Motosaka’ is perhaps the most expensive 2-minutes on the album, featuring a Columbia Records Japan-cleared sample of Ryuichi Sakamoto’s ‘Thousand Knives’. Its synth squelches and Tom Tom Club funk also received the blessing of Haroumi Hosono, Godfather of Japanese Electronica, who agreed to being sampled in an original version of the song. “We just kept listening back and hitting gold,” Al recalls. “I was thinking ‘yeah, not sure what this is but I like it! We were buzzing with what we had made.”
But the sound wouldn’t come without self-imposed instrumental challenges. Thanks to an old mellotron sample on ‘Move To It,’ the moog riff and nautical accordion breaks on ‘Swim To Sweden’ and the 6/8 and 7/8 jaunt of ‘Brick’, time signatures were lovingly skewed to create Co-Pilot’s unique mood. “It was a bastard getting the drums right,” Leonore reveals, “but I like the wonkiness”. Levelling up through the lyrics, the words of smoky and evocative ‘She Walks In Beauty’ are based on a Lord Byron poem, with the sentiment of remembering Leonore’s late grandparents. “I wanted to see how much I could get away with just singing on one note, and how I could harmonically change everything else around it vocally,” she says. Elsewhere ‘Can You See’ was written from the perspective of a concerned sister to a brother which tells of keeping someone safe. “The lyrics are quite metaphorical about day-to-day happenings, people loved and lost. Others are rhythmic nonsense! It’s up to the listener to figure out what’s true.”
It’s clear from Al’s productive production techniques and Leonore’s knack for vocals and lyricism, Co-Pilot’s course is engineered by two aeronautically adept sonic storytellers. “We share a pretty similar sense of humour,” Al tells, “It is funny listening to this quite serious album but knowing we were giggling as we recorded it all. It’s been great to have another brain to bounce off.” Their destination might be unknown, but the clouds are about to part for a sound that is light years ahead. “You'll like at least one song,” Leonore suggests, “and hopefully them all.”

With a sonic palette coated in majestic melodies, luscious sound design, and masterful mixdowns, drum & bass duo GLXY have been creating some of the highest calibre liquid drum and bass since their emergence in 2015. Raising the levels once again with their latest body of work, Shogun Audio proudly presents the 'Fear, Ego' EP, a six-track, stripped-back masterpiece that sees Jon & Tom combine a handful of idyllic productions with collaborations with Lenzman, Halogenix, and Zoe Kypri.

Hot off the back of their 'By Design' EP, this latest project sees the duo further cement their beguiling signature sound whilst venturing into new spaces that encapsulate their ability to continuously keep things fresh year after year. Emitting sumptuous amounts of soul, sonic serenity, and superb sampling, the 'Fear, Ego' EP effortlessly wanders across moods in the most brilliant of fashions.

Whether you're listening to groove-laden sounds of 'Unconditional', their first collaboration with Halogenix, the dark and techy sounds of '3C Roller', or Lenzman's vibrant remix of 'New Soul', this EP is packed full of flavours that will appeal to fans across the drum & bass spectrum.

The third record from the friends for the bag. A mix of kicks returning two familiar foes and adding two new friends to the scene. Extended instant release for this one.

PRSPCTV aka XENTRIX is an emerging Belgian techno talent who steps out here with his first release on Musik is Egall. His moody and atmospheric original 'Perspective & Surface' is found on the B-side. It's a hunched-over, stripped-back deep techno and dub fusion with grotty synths and vast incendiary hi-hats hurrying you along.

Label co-founder Oliver Hess steps up with his own remix on the A-side and flips the track into something as as deep as they come, with dubbed out chords and warm, edgeless but driving kicks and smeared pads all laced up with muffled vocal mutterings and rising synths. It's one for early-evening groove sessions or late-night zone outs.

From Karma Recordings comes their eleventh EP. Showing once again that Karma Recordings is not a one trick pony, for their eleventh release they have brought on board the remixing talent of Billy ‘Daniel’ Bunter and Sanxion. With over 30 years in the game Billy Bunter certainly knows how to make a crowd jump up and go crazy. We keep the format of having the original as the second track on side A. Flip it over and we have the mysterious Karma Krew with Cracking Up, but who’s produced it ? All you know is that it’s producers from our very talented pool !! Lat but definitely not least we have brought back the awesome Dubious who has come up with another masterpiece. Do not miss out on this one…

Be With present the first ever reissue of the ultra rare double pack DJ promo of Malcolm McLaren & Bootzilla Orchestra's "Call A Wave". Originally slipping out in 1989 to a select few, there were rumoured to be only ever 300 copies pressed. Indeed, the entire package never got a proper release and now goes for a small fortune.

Say what? Bootsy Collins, Jeff Beck and Malcolm McLaren, all in one band, composing over a Barry White sample? And that's just the original. But you can forget about that for now. Here we have the incredibly sought-after "DFC Dance Mix", mixed by Massimino Lippoli of Morenas / Sueño Latino fame for the legendary DFC Italy. It's a throbbing, vital, dramatic slice of dreamy ambient house. A deep, entrancing track that's both blissful and dancefloor dynamite. It features the iconic, disaffected female vocal chopped up over elegant piano snatches, Beck's ace guitar stylings over rolling, heavy drums and a killer, hypnotic bassline with sparkling harp coming and going. It's exotic, otherworldly and brimming with that very special late 80s/early 90s Mediterranean vibe. Yes, it's Balearic, it's House. Above all else, it's a pure uncut slice of halcyon summer days, pressed on wax.

But on side B we also have the mesmeric "Breakdown Mix", again mixed by DFC Italy. For some, *this* is the mix to have - and who are we to argue? This time, the vocals are treated so they're uttered backwards, contributing to the wonderfully disorienting magic of this particular mix.

And how could we forget the equally iconic "Orbital Mix"? Not by the actual group Orbital, but courtesy of S'Express's Mark Moore & William Orbit, no less. A brilliant, beautiful remix that's perhaps more musical. They make more obvious use of the sample from the original Barry White track ("I'm Gonna Love You Just a Little More Baby") that Malcolm was inspired by. Flip over to Side D to find the duo's uber-horizontal "Return To The Deep Ambient Mix", a floaty, beatless gem that'll leave you swooning.

To round out this quite astonishing package, the "New Age Mix", again coming from the DFC Italy camp, elegantly sends us off into the cosmos with minimal percussion and maximum vibes.

Every mix on this DJ double pack is truly killer. Simon Francis remastered the original audio for this release and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 2x12" well and truly pumps. The immaculate Record Industry pressing will ensure this incredibly sought-after masterpiece finds a home in many more DJ boxes this and every summer. For the artwork, we've recreated the original DJ promo, a plain white gatefold sleeve complete with the iconic burnt orange hype sticker. Hold tight. Roof down, tops off.

The tenth volume of Numero's elaborately packaged Cabinet of Curiosities series, L80s finds the group exploring the far-flung corners of the global downtempo underground. This 12-song mix tape weaves icy hot coldwave, Sausalito seafood jazz, Glaswegian goth, makeshift Madonna, Sade spoofs, and Brat Pack balearic into a high-waisted, party-ready pair of danceable denim.

There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’ for his unrivalled contribution to the house music we know today; what started as an underground movement in Chicago has grown to international heights thanks to Frankie. His records earned him recognition on a global scale, allowing him to work with some of the globes biggest names including the likes of Diana Ross, Whitney Houston and Michael Jackson.

Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades. Now he is commemorated by long time writing and production partner Eric Kupper. Eric, himself a seasoned DJ producer and writer, has worked on over 116 Billboard #1 Dance Records and played a pivotal role in a many of Frankie’s productions. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

Together they re-produced and re-purpose classic cuts for modern dancefloors, with reworks including tracks from Marshall Jefferson, Ashford & Simpson, Artful & Ridney and The Sunburst Band, alongside Frankie Knuckles originals. These releases have now been brought together by Eric to feature on special album called ‘The Directors Cut Collection’ on SoSure Music. It includes the Director’s Cut reworks of Frankie’s classic cuts such as ‘Your Love’ and ‘Take You There’ with Jamie Principle, alongside Frankie’s first #1 single - ‘The Whistle Song’ on which Eric shares writing credits.

Within a multitude of classic reworks, highlights include a previously unreleased version of Ashford & Simpson’s ‘Bourgie Bourgie’ and a huge Director’s Cut Retro Signature mix of Marshall Jefferson’s 'The House Music Anthem (Move Your Body)' featuring Curtis McClain.

The Director’s Cut Collection is a fitting tribute to commemorate the fifth anniversary of Frankie’s passing whilst giving Eric a platform to tell his side of the creative story. This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continuing Frankie’s legacy well into the future.

In a hyperactive 40-minute, 18-track suite that runs like a boombox mixtape, the two prolific multi-media artists contemplate community, transformation, and the future through the programmatic format of a pirate radio station for the people.

In a hyperactive 40-minute, 18-track suite that runs like a boombox mixtape, the two prolific multi-media artists contemplate community, transformation, and the future through the programmatic format of a pirate radio station for the people.

The 3rd vinyl produced by Southwax, a collective of DJ Producers and Graphic Designers based in Marseille, London, Lille and Liverpool.

Side A, a compo by the White Knight , a producer based in Marseille, in collaboration with James Bacon, cut for the dance floor with a heady sample taken from a classic French film from the 70's whose melody is easily recognisable by Vladimir C., an inspired tribute to the tradition of French Touch tracks with a Kick worthy of Chicago House.

Side B - French Disco Machine, produced by James Bacon in the style of Justice/ Sebastian, with a big techno kick and a disco sample that is destructured and filtered to the extreme. James Bacon is best known for his techno productions under the name LENSKID on Analog Records for the legendary DJ Fresh. For Southwax he has produced a sonic UFO that will shake the walls.

Maxi 45 rpm blue vinyl pressed by French sound craftsmen La Manufacture des Vinyles in Annecy.

After the success of “Navegar” (2021) Joao Selva continues to spread wings, taking us on a journey into his musical universe, always as sunny as it is abundant. His new album “Passarinho” span a generous palette of musical influences: from Angolan semba to Cape Verdean funaná, via Caribbean zouk or Congolese rumba – João Selva's music channels the musical pulse of the Black Atlantic. In the most (im)pure Brazilian tradition, he also digests the contribution of North American music and freely incorporates elements from elsewhere into the irresistible rhythms of Brazil.

This new album transposes the elegant melodies and magnetic vocals of Joao Selva into unexpected musical universes, each producer having had complete freedom to add their own soundscapes. Patchworks present a sublime acoustic version of "Passarinho" mixing Caribbean percussion and captivating vocal harmonies. Art of Tones brings its sense of fiesta, transforming the infectious optimism of “Cantar cantar" into exuberant Afro-Latin euphoria. Voilaaa serve us his raw afro-disco grooves on “Vai te curar” adding smooth horns, sparkling funky keys and acid basslines. Canadian dancefloor killer Poirier takes "Chuva" to another dimension, adding his science of beats and a powerful bass to keep us dancing all night long (and even in the rain!). Uptown Funk Empire delivers an additive version of the irresistible "Menina me encanta", while Ireke elegantly revisits “Sete Ventos”.

Joao Selva and his crew distill lively and joyful music, full of good vibes and perfect for fully enjoying the summer. Take your caipirinha and go dance!

An exciting new Record producer, with a sound that blends elements of Electro, Breaks, and Techno, Doppelbanger is quickly making a name for himself in the underground music circuit.
Drawing inspiration from the pulsing rhythms of the latest Electro sound with artists like Locked Club , Re:drum , Dagga, Manao & Hermeth leading the revolution. He infuses his tracks with a gritty energy that sure gets crowds moving on the dancefloor, but he also brings a modern twist to the genre, incorporating lush synths, intricate percussion, and cleverly manipulated samples to create a sound that is both nostalgic and forward-thinking.

Whether you’re a die-hard Electro fan or just looking for some fresh beats to get your groove on, Doppelbanger is sure to deliver the goods. So tune in, turn up, and let the vibes wash over you!

His first EP has just been released across all streaming platforms, along with the 1st press of Vinyl Records, grab a copy soon, before it is sold out!

Write up for EP: 2020 Vision

Welcome to an Electro-infused sonic journey! This EP captures the essence of a unique musical vision, blending captivating melodies, pulsating beats, and intricate soundscapes. With five tracks that span a range of moods and emotions, you are invited to immerse yourself in this electrifying experience.
From the moment the first track kicks in, you’ll find yourself transported to a world where synths come alive and rhythms intertwine with ethereal soundscapes. Each composition has been carefully crafted to take you on a sonic adventure, weaving together elements of Electro, pulsing basslines, and mesmerizing textures that will leave you craving for more.

Throughout this EP, Doppelbanger has pushed the boundaries of the genre, exploring new sonic territories while staying true to its roots.

The five tracks on this EP are meticulously arranged and mixed to ensure a seamless flow, creating an immersive experience that will keep you engaged from start to finish. Whether you’re looking to lose yourself in the infectious grooves or find solace in the introspective moments, this collection of songs has something for everyone.

“Where are you, my sunny feeling I knew as a kid?” This is the question that Origami Angel asks with their latest output, a sharp and shining 8-song mixtape called The Brightest Days. Its opening title track begins with one of many new tricks for the DC two-piece––a ukulele––but quickly turns left-field as childhood innocence makes way for blistering intensity and hopelessness. Told through the lens of a shitty east coast summer, The Brightest Days was written throughout the spring and summer of 2020, and later recorded in August 2022 with producer Drew Portalatin, with assistance from Jake Chekoway and vocalist/guitarist Ryland Heagy (he/him). Across the mixtape are some of the most creative and adventurous moves Gami has ever made. Not quite an EP or an LP, the differences between each track on The Brightest Days is what makes it such a special release, and thus garnering the ‘mixtape’ moniker; diving into specific tones and different vocal techniques on each track allowed Heagy and drummer Pat Doherty (he/him) to shine in ways they never have before. The Brightest Days may be few and far between—with that gap stretching further each day—but as a mixtape, it’s a cloudless collection of the most realized and strongest music that Origami Angel has written yet.

There's something intangible about Celeste, the Soundcarriers’ second album, originally released in 2010. It has a light, lucid quality, almost like driving exhausted through a strange city at night. Freeflowing yet tethered, dreamy yet attacking, the band continue the fight to reconcile competing impulses. Various threads just about keep the shimmering tapestry from tearing. Haunting folk melodies underpinned by rhythmic static and the physicality of the totally analogue recording and mixing, baroque keyboard counterpoints and sweeping arrangements. The opener “Last Broadcast” seems to encapsulate this but it's almost as if the album gets the angst out of its system with this track and is free to explore the quieter, less crowded back streets. After the smoke of “Last Broadcast” has cleared, the twisting road takes in the soft introspection of “Hideaway” and “Morning Haze”, both tracks morphing into heavy psyche grooves or the eastern tinged psyche funk of “Signals” and “Rise And Fall”. Or takes another turn with the tightly arranged opening segment of “Long Highway”. Somehow it still manages to fit in ‘60s pop gems like “There Only Once”. An album to really lose yourself in, yet more concise than the sprawling Harmonium and more relaxed and freeflowing than the nervy rush of Entropicalia, Celeste could be arguably their most indispensable album and not to damn it with faint praise, their most listenable.

Repress!

First in a series of collaboration albums between Lokkhi Terra (described by songlines as the "probably the world's greatest Afrobeat-Cuban-Bangladeshi band") and Bangladeshi folk legends the Shikor Bangladeshi All Stars. This first outing is a Roots meets Roots affair. "The international power of Reggae" David Rodigan Radio1xtra

Written whilst Lokkhi Terra were on tour in Bangladesh, and recorded between Dhaka and London, the two tracks and corresponding dub mixes on side B reflect the bands long love affair with Roots Reggae. They were first perfromed on Bangladehi TV for a show called "The Bengal Tiger's Revenge", and then showcased at UK"s Womad Festival in 2015.

"should not have worked, but really did. Kishon Khans keyboard and artistic direction allowed the Bangladeshis to meld with his Cuban rhythm section to really fine effect, blending Latin, Afrobeat, Jazz, Dub and all manner of other elements to create something truly exceptional" United Reggae

"Awesome Cross-Cultural Collaboration" London Jazz News

Brilliantly remastered (picture) LP/CD with new stunning artwork!
Lo-Fi India Abuse was recorded in 1998, some tracks are “pure” Muslimgauze and some are re-mixs of tracks from Systemwide’s “Sirius” CD (see also Systemwide meets Muslimgauze “at the City of the Dead” 12″). Nearly all of the tracks have hand percussion in varying tempos and intensities and at least 1/2 make use of electronic noise surges. The sound is very crisp and clean, extremely well produced, recorded and nicely varied throughout the length of the disc. Some track by track comments: “Antalya” is obviously from the same sessions as “Fakir Sind” seeing as it shares the same hand percussion sound, whistles, vocal wailing, cut-ups and delays. “Valencia Flames” sounds like a Systemwide remix. A dub bass line, hi-hat and background vocal of some sort are all obliterated by numerous delays, starts, stops and re-starts with an unpredictable nature in these cut-up tracks. “Al Souk Dub” injects background voices, market sounds and drones into the cut-up mix of slow hand percussion playing. “Catacomb Dub” and the final two tracks make use of twinkling synth waves, presumably a Systemwide sound source. “Dust of Saqqara” has a heavy pulsating electronic sound wave over an old beat box rhythm. “Android Cleaver” is brutal (as is “Nommos’ Afterburn”) hand percussion, jabs of noise and an oft repeated, unintelligible vocal sample. Yes, Lo-Fi India Abuse is yet another great Muslimgauze release, grab it!
All tracks recorded by Muslimgauze 1998
Some tracks are re-mixes from Systemwide’s “Sirius” album
Re-mastered by Višeslav Laboš
Sleeve by Oleg Galay
Originally released in 1999 via BSI Records (BSI 1999-3).

Brand new album from Nine Mile Station.
• With tracks mixed by the late, great and legendary Al
Schmitt whose 23 Grammy's is a record
among producers and engineers.
• One of Schmitt's last before he died in April 2021…
bookended by sessions with Neil Young and Willie
Nelson.
• First vinyl pressing is exclusive as the track ‘She Walks’
was later replaced with ‘Who You Love’, inspired by
the growing hostilities to the LGBTQ community.
Lead singer Will Hawkins discovered NMS guitarist
Fernando Perdomo while watching the awardwinning documentary Echo in the Canyon which featured
Fernando performing with Jakob Dylan, Fiona Apple,
BEck, Brian Wilson, Roger McGuinn, Michelle Phillip and
Neil Young.
Coachella Valley Weekly called the NMS debut album the
“best heartland rock album in 30 years” and
MusicConnection commented on their live show: “Nine
Mile Station is a rockin Americana music band like no
other!

This July the esteemed scribe, proper DJ, and discreetly deft twiddler Bill Brewster, drops the latest instalment in his ‘After Dark’ series, for Late Night Tales.

A throbbing, louche and leisurely affair, groove is very much at the heart of this freestyle selection, a vibe which Bill de- scribes as “a basement, a red light and a sound system. Or, as the Beastie’s once rapped, slow and low, that is the tempo”.

There’s Hawaiian drum machine bossa balearica from Island Band, percussive afro post punk from Czech jazz singer Jana Koubkova, and breathy-bubbling-dubwise-slap-bass-soul from Debbe& The Code.

There’s also sultry deep house mood music from Lanowa, infectious bouncy jazz funk breaks from Canada High, and Nail’s life affirming re-edit of singer songwriter Gilbert O Sullivan’s electro pop gem ‘So What’.

Bill’s own studio skills are present and correct too, featuring an undulating bassy version of country troubadour Jeb Loy Nichols, reworked along Alex Tepper under their Hotel Motel moniker, and a chugged-up squelchy disco take on Khruang- bin, this time paired with Raj Gupta, as Mang Dynasty.

Chock full of exclusives, tracks are either completely brand new, or available digitally for the first time, whilst others are wallet-rinsing rarities if purchased elsewhere. Whichever way you slice it though, every tune is a highlight, working equally well as standalone nuggets, or within Bill’s fluidly cohesive mix.

Whether he’s taking the roof off a club with his unique selec- tion of deep and tough house music, enchanting a backroom with a genre-bending set of disco, Balearic, rock and hip hop or playing chillout music in a bay in Croatia, Bill Brewster is the man for all occasions.

In a former life, Bill was a punk rocker, a chef and also the co-editor of football magazine When Saturday Comes but has been a record nerd all of his life. He began DJing in the 1980s, but came into his own in the early 1990s, particularly during a two-year stint in New York running DMC’s office, where nights at the Sound Factory and hanging out with Danny Tenaglia gave him the musical grounding you can still hear in his music today.

Bill was also one of the founding residents at Fabric in London, a position he held for five years. There are few still playing regularly today that have his dedication, eclecticism and encyclopedic knowledge of music.

His parallel life is as a writer, and with his long-term part- ner-in-crime Frank Broughton, they have written four books together, including the acclaimed ‘Last Night A DJ Saved My Life’ (latest edition published last July), ‘How To DJ (Prop- erly)’ and ‘The Record Players’.

He has been working in the industry’s fringes for over 40 years including the running of various labels from Twisted UK and Forensic in the ’90s to Disco Sucks and Anorak in the noughties.

He is one of NTS radio’s new residents for 2023 and his ‘Low Life Loves You’ show is available on the first Tuesday of every month.

Jade Warrior is the debut self-titled and self-produced album by Jade Warrior, released in 1971 as part of the progressive rock movement. The album sets the scene for what the majority of the band's albums were to sound like, mixing various ethnic sounds with a progressive and otherworldly sound, as well as sudden changes between slow acoustic guitar melody, to distorted and heavy electric guitar with a faster tempo.

Carl Finlow keeps on keepin' on. Not only is Finlow one of the most respected names in electro, a producer who boasts a sprawling catalogue that takes in a wide variety of aliases, but he's also spent recent years establishing himself as a mainstay for Sheffield's Central Processing Unit label. Soft Robotics, the new EP from Finlow's Silicon Scally project, is the fifth Silicon Scally release in five years to boast one of CPU's instantly-recognisable black-and-white covers.

The reason that Silicon Scally and CPU keep linking up is simple; they're a perfect fit for one another. Central Processing Unit has established itself as a haven for post-Drexciya producers since launching in 2012, and there are few artists better than Finlow at building on the Detroit group's sound. The union bears fruit once more on Soft Robotics, an EP of lithe machine-funk jams that will both do damage in the dance and also reward more concentrated home listening.

Things begin at a steadier speed than one might expect. Rather than barrelling off with the kind of sinewy roller one associates with the CPU name, Soft Robotics' title-track takes things at mid-pace. The groove reveals itself without hurry, Silicon Scally adding or subtracting elements - twitchy modular loops, pensive pads, the occasional blurt of low-end - atop the chugging bass/drums groove. It's a track which wins you over with guile rather than force.

As the name of subsequent cut 'Jitters' intimates, this one picks things up a little after 'Soft Robotics'. The tempo is higher here, the central beat more nervy. At their cores, though, 'Jitters' and 'Soft Robotics' are kindred spirits. Here, another slyly insistent bit of drum programming comes swirled up with all sorts of extraterrestrial tones, from little nuggets of melody supplied by the keys to electrifying synth stabs and percussive squelches.

Things limber up further still on first B-side 'Spin Ratio'. The track's 808 kicks are punchier than those of the A-side jams, and there's a dizziness to the bass tone which gives 'Spin Ratio' an intriguingly off-kilter feel. Atop the booming beat we find ourselves hypnotised by cells of melody and harmony interlocking or moving apart - particularly the staccato module at the track's heart. Sure enough, 'Spin Ratio' is the Soft Robotics joint which cleaves closest to Drexciya, invoking other Detroit disciples like Jensen Interceptor in the process.

After Soft Robotics picks up speed in the middle, closer 'Super Fluid Tones' brings us back to where we started. This track returns to the more measured delivery of the record's opener - there's a steady pulse to the drums, and once again Silicon Scally packs the mix with so many intriguing whizzes, bangs, blips and blurts that it's impossible not be won over by this tune's construction. 'Soft Robotics' and 'Super Fluid Tones' bookend Soft Robotics very nicely, and Silicon Scally's smart pacing gives the EP a lovely ebb and flow.

The ever-excellent Carl Finlow drops a Silicon Scally release via Central Processing Unit for the fifth year running. Like its predecessors, Soft Robotics is an excellent and deftly-crafted collection of modern machine-funk.

RIYL: Drexciya, Jensen Interceptor, Fleck E.S.C., The Advent

The classic 1983 hardcore scuzz rock debut from Berkeley, CA’s Fang, Landshark is a unique mix of erratic thrashers and slow Sabbath-oid noise riffs. Its best-known tune is without a doubt the rumbling and stumbling opening track “The Money Will Roll Right In,” which has been covered by Nirvana, Metallica, Mudhoney, The Butthole Surfers and god knows who else. The record also includes cheerful odes to the disabled (“Destroy the Handicapped”), the follicle-y challenged (“Skinheads Smoke Dope”), and assorted werewolves, delinquents and drug users. Fang continues to unload their brand of sludge-punk on audiences to this day, with recent tours taking them around the US, Europe and Brazil. This reissue is remastered and back in print on vinyl for the first time in 20 years, with additional vintage artwork inside. The digital download included with the disc also features their entire Where the Wild Things Are release, plus more.

Swami John Reis celebrates his 100th year in rock ’n’ roll with a brand new band and record! “Ride The Wild Night” is neither completely similar nor dissimilar to his previous bands (Hot Snakes, Night Marchers, The Sultans, Rocket From The Crypt, Drive Like Jehu, etc).

Yet the sound is immediately familiar and assuring (like an old friend you lost touch with that comes back into your life only to ask to borrow money).

The music is an amalgam of ’60s folk-punk, ’70s punk-punk and pre-Vietnam War rock ’n’ roll, filtered through the Reis’ unregistered, trademark sensibilities. “I wanted to celebrate some of my favorite rock n roll in its transitional periods. Flaming Groovies, Paul Revere and the Raiders, The Kinks, The Saints and others created some of the most exciting recordings while also connecting the musical past to its future. That really appeals to me”.

Although titled a “solo” record it is predominantly in name only. The record is built on stentorian bedrock of savage drumming by J. Sinclair K. of Hot Snakes and the pounding acoustic piano of Joe Guevara. Also adding their expertise to the mix is Chris Prescott (Pinback) Gar Wood (Hot Snakes), Glen Galloway (Truman’s Water), Jacob Turnbloom (Mrs. Magician) and Jordan Clark (PLOSIVS). With this backing, Swami John Reis finalizes it with his throaty basso and weaponizes the files with roaring electric guitars, rapid acoustic guitar strum and bass.

Hear his defiant, croak-howl in what might be his most autobiographical work yet. “All of these stories are real. They just might not be completely true.” Reis adds, ”The words come from what I overhear through my fence, what I see across the street, pictures I see in my head, experiences that I can’t forget or am grateful to remember.” If there is a loose theme throughout the record he offers, “Musically and lyrically there is a motivation to surrender to a restless and impulsive spirit that can only be satisfied by breaking things. Creating rubble for better or worse. “

Music critics and fans alike have long referred to Reis’s signature voice as “The Velvet Yawn” and never has that description been more apt. “Ride The Wild Night” was recorded by Reis at City Of Refuge (Night Marchers, Black Lips, The Spits) and mixed by Ben Moore (Hot Snakes, Diamanda Galas) at Singing Serpent.

Yasushi Ide, the Japanese Street Music Icon Unleashed "Cosmic Suite 2" in a Revolutionary Blend of Genres.

Yasushi Ide, the revered figure in Japanese street music, has recently unveiled his latest musical opus titled "Cosmic Suite 2," a rebel music masterpiece that pushes the boundaries of musical genres.

This groundbreaking album features collaborations with esteemed pioneers including Afrika Bambaataa, Don Letts, Josh Millan, Jeff Mills, DJ Krush, Tony Allen, and more. By transcending the limitations of time, genre, and even mortality, Ide has crafted a truly unique and eclectic street music experience unlike anything seen before.
Notably, Ide enlisted the expertise of Grammy-winning sound engineer Steven Stanley to embark on the reconstruction of "Cosmic Suite 2" using his renowned dub mix techniques. The outcome of this collaboration is the birth of "Dr. Steven Stanley Meets Yasushi Ide - Cosmic Disco Dub," a mesmerizing rendition that showcases the genius of both artists.

Hailing from Jamaica, Steven Stanley is a highly regarded sound engineer and producer whose illustrious career spans several decades, primarily in the realms of reggae, dub, and rock music. Having worked with acclaimed acts such as Talking Heads, Black Uhuru, and Tom Tom Club, Stanley has solidified his status as a living legend within the industry. His contributions to Tom Tom Club's "Genius of Love" and his Grammy-winning work on Black Uhuru's "Anthem" further exemplify his unparalleled expertise. Additionally, Stanley has collaborated with notable artists including Grace Jones and B-52's.

In "Dr. Steven Stanley Meets Yasushi Ide - Cosmic Disco Dub," Stanley expertly integrates elements from the original "Cosmic Suite 2" tracks, employing his unique dubbing techniques to enhance the sonic experience. Through the addition of his signature dubby reverb and other distinctive sound manipulations, Stanley elevates the album to an entirely new dimension.
"The Battle" Transformed into an Enchanting Disco Dub Experience, Infused with Stanley's Horn Section Effects for a smoky ambience.

In the mesmerizing track "Galactic Beats," the legendary Afrobeat pioneer Tony Allen's powerful drums take center stage. Skillfully applying his dub effects, Stanley adds vibrant layers and new dimensions to the composition, further enhancing its sonic palette.
Another standout is the dub version of "LAVA," featuring acclaimed Japanese singer UA. The track, which was already a fan favorite in its original form, undergoes a remarkable transformation in this dub rendition, further accentuating its appeal.

"Outer Space" Transcends Time and Genre with a Dream Collaboration Between the Late Legendary Reggae Drummer Style Scott and Japan's Turntablist Extraordinaire, DJ Krush. While the original track exudes a stoic and deep cosmic dub essence, Stanley ingeniously reimagines it as a nostalgic old-school dancehall masterpiece.

"Sumimasen" is a track that exemplifies Stanley's mastery, where the unique Japanese word "Sumimasen" (meaning "I'm sorry") is transformed into a psychedelic and deeply immersive dub journey. The track features captivating echoes on the vocals and twisted synth elements, transporting listeners to a cosmic realm of sonic exploration.
Furthermore, it is crucial to highlight "Hear, There, and Beyond," a collaboration between Yasushi Ide, Kan Takagi, the pioneering figure of Japanese hip-hop, and RECK, the bassist from the legendary punk rock band FRICTION. This reconstructed version takes the original track to unprecedented heights. With a remarkable shift to tribal drums in the midst of the song, the energy intensifies, resulting in a wild and exhilarating musical experience.
The reconstruction of this album evokes memories of Mad Professor's "No Protection," a renowned dub reconstruction of Massive Attack's work that remains an enduring masterpiece in the genre. With its exceptional craftsmanship and artistic vision, "Dr. Steven Stanley Meets Yasushi Ide - Cosmic Disco Dub" has the potential to be regarded as another timeless dub reconstruction masterpiece, solidifying its place in music history.

Im Frühling 2023 ging Angelo Kelly gemeinsam mit dem Multiinstrumentalisten Matthias Krauss auf „MIXTAPE Tour Vol.3“. Die Resonanz war riesig und die Songauswahl war wieder mal sehr überraschend! Was das MIXTAPE Konzept ausmacht ist, wie die Beiden es schaffen aus Liedern, die man schon kennt, ganz andere Versionen zu schaffen. Die Songs haben alle eine sehr persönliche Note und sind nicht nur anders, um anders zu klingen. „Titanium“ von David Guetta in dieser Form zu hören, macht einem erstmal bewusst, was in so einem Dance Track drinsteckt, „Angels“ von Robbie Williams ist nicht so einfach zu covern, aber bei dieser Version bekommt man direkt Gänsehaut!

Mit „My Hero“ und „Sweet Child Of Mine“ wird die Bühne gerockt! Einen ’Iron Maiden’ Song hätten wohl die wenigsten erwartet, aber die Version von „Wasted Years“ wird bestimmt einige dazu bringen, sich das Original anzuhören. Bei den insgesamt 18 Songs gibt es ein paar Lieder wie „Purple Rain“ und „Who Wants To Live Forever“ wo man zuerst denkt: ‚Das kann man gar nicht covern.’ Es sind aber genau diese Stücke, die einen umhauen und zeigen welche Freiheit sich Angelo Kelly mit seinem MIXTAPE Konzept nimmt. Grossartig! MIXTAPE Live Vol. 3 erscheint als CD in einem schönen Digipack Design. Das Highlight ist aber ganz klar die Vinyl Edition. 2 x Splattered Vinyl in einem Gatefold und dann gibt es ein wunderschönes 8 Seiten großes Booklet mit Tourfotos und persönlichen Geschichten von Angelo zu jedem der Songs.

Ricardo Baez draws on many influences. Electro, house, synth-pop and italo are pillars of the Italian artist’s unique style. The Florence based musician arrives at the Bordello with On and On. Featuring Curses, the opener is a floor-filler. Known for his EBM-stained wave works, this vocal mix is a late night Summer romp. Crisp percussion and warm bass lines usher in addictive hooks and throaty vocals from Luca Venezia.

The original version follows. Lyrics are stripped back allowing the upbeat synth play to take the limelight. Cascading notes announce the flip. “Sfida Notturna” is built on delicate drum patterns and arc of string before breaking to a heady dawn.

“Dietro L’orizzonte” brings the curtain down. Toms and cinematic synthlines introduce rasping rhythms and vocoder samples. The piece is perfectly measured, fragile keys ascend next cymbal crashes and computer voice. Sumptuous sounds from the north of Italy.

The year is 1989. Techno’s second generation has begun to permeate the globe leading a young Carl Craig to a tiny village in the countryside of Belgium. It is here, undistracted and determined to break out, that Craig encounters one of the country’s only drum machines, an Alesis controlled midi-808. In a single session he composes and mixes a handful of records that are still to this day regarded as some of his most raw and explosive contributions to the fabric of electronic music history.

Carl revisits this fateful chapter through the lens of a famed cut from his Psyche alias ‘From Beyond’, with a ‘C2 2023 Mix’ and remixes from Seth Troxler, Ataxia and Admn, out July 14 on Planet E Communications.

The Psyche alias, known for early Transmat releases like ‘Crackdown’ and ‘Elements’, embodied a stripped back, less sample based yin attitude to the yang of Carl’s more aggressive 69 and sample-forward BFC and Paperclip People identities. ‘From Beyond’, first released in 1990 via the ‘Crackdown’ 12” on Transmat, offers an eerie glimpse into the simplistic production that came through Carl’s mastery of the 808 and the sonic value of restricting himself to this movement defining tool.

This new ‘From Beyond’ package sees Carl lift and bend the original in his ‘C2 2023 Mix’ alongside a package of remixes from artists near to the hearts of Detroit and the Planet E fold. Seth Troxler brings a subdued acid tinge to the package, while label regular Ataxia pays homage to the source material with a renewed percussive energy, followed by a soulful rework by Admn.

Whether it be through the 30 year repertoire of his seminal Planet E, his Party / After-Party sound and light installation now on display at Los Angeles’ MOCA, or his continuous work as a champion of Black-led creativity, the Carl Craig mission remains the same: to always rep Detroit and be the realest mutha f***a alive.

LP Red /Black Corona Vinyl Reprint limited to 2.000 units
Incl. former Bonustracks: Pray For Forgiveness (Rough mix un-mastered), Dismal Dream (Instrumental version)

'In The Moment That You're Born' features 10 never released songs, and all the lyrics were solely written by the late Shawn Smith, exception made for Stars N’ You, (originally written by Andy Wood of Mother Love Bone and Malfunkshun for the Deep Six Compilation). Barrett Jones plays piano on "Meadow in Autumn", while Hans Teuber plays horns and keys on various other tracks. The album was self-produced by Brad, and recorded and mixed by Floyd Reitsma at Studio Litho in Seattle (except for "In The Moment That You're Born," which was mixed by Josh Evans). The artwork was cured and crafted by Regan Hagar with the addition of pictures taken by Lance Mercer. Brad is: Keith Lowe: Bass, Piano, Keys Shawn Smith: Vocials, Guitars, Keys Stone Gossard: Guitars, Keys Regan Hagar: Drums, Keys

NoCorner and Stone King proudly presents the first official collaboration between Ossia and Andy Mac. Both are fresh off a series of high-profile releases and projects - Ossia with recent releases on Berceuse Heroique and Blackest Ever Black, and Andy with his new Deep Street label and the 2nd Diving Bird 12 that just came through on Idle Hands.

Featuring three tracks written & recorded between 2015 and 2017, the record sees Andy & Ossia's mutual love for Jamaican and African rhythms, dusty records and a tape-saturated approach to guide a fresh, dubwise production process involving a battered old Roland Sampler and Ossia's infamous half-broken analogue Trident Mixing desk.

A Side Soup Riddim serves itself up as a hybrid slab of dancehall, dub and perhaps even the looser stylings of house - a fresh twist with an eternally-universal emphasis on space, and the movement within it. On the flip, Cado leans even further into negative space, allowing a gorgeous piece of samplism to drive the rhythm all the way to its conclusion in the blink of an eye, with the soft insistence of the percussion playing with the listener's sense of time. This feeling intensifies in the final track, Linguine Loop. A shapeshifting low-frequency hum underpins a hypnotic melodic loop that develops, delays and distorts into a dizzying crescendo of feedback and noise. The final minutes serve as a final reflection on what came before as the melody slowly re-filters into the mix as a ghostly, half-there form of itself, drawing the reductive conclusion to this EP, a triple version excursion of far-away sounds.

Edition of 300, six times (at least) hand-stamped, in kraft sleeve.
Mastered and cut by Lewis at Stardelta.

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

William The Conqueror's fourth album finds the indie-rock triofiring onall cylinders as frontman Ruarri Joseph confronts the thin linebetween creativity and madness, inspired by compassion for thereal-life angels of the world.Produced by the band in aplayground of vintage gear and mixed byBarny Barnicott (Arctic Monkeys, Sam Fender, Kasabian), the resultingalbum's ten tracks marry earworm tunes with insistent, imperious,soaring rock shapes, punctuated by chorus hooks that aresimultaneously nuanced and anthemic.Joseph's compelling semi-spoken vocals and swamp-blues-Seattle-scuzz guitars are propelled by the rhythm section of Naomi Holmes(bass) and Harry Harding (drums) as Excuse Me While I Vanish deliversan effortlessly winning blend of melody and ensemble dynamics, themost accomplished and undeniable William The Conqueror album todate.