Search:raw

Remastered reissue of this seminal EP by Speedy J originally released on Detroit's Plus 8 records. Taking his inspiration from the early Detroit and Chicago imports that landed on the Dutch coast in the late 80's Speedy J ended up creating a classic that innovated and embodied the raw energy of the then still emerging sound of Techno. After all these years this is the very first repress of this landmark release!

Remastered reissue of the second landmark EP for Plus 8 Records by Speedy J. Again expanding on the emerging sounds of Techno Speedy J took it further into euphoric, minimal lofi and bleepy territory with ''Rise'', ''Tresor'' and ''De-orbit''. All while effectively stripping it down to the bare bones rocking only a 909 and a vocal sample on ''Something For Your Mind''. This release and in particular ''Something For Your Mind'' was there at the forefront of techno as we know it these days with a harder, raw and no-nonsense approach and all its variations such as Gabber that grew out of that in Rotterdam the following year.

Ekoplekz is Nick Edwards from Bristol, UK. He made waves in the 2010s with his distinctive brand of lo-fi analogue electronica for labels such as Planet Mu, Mordant Music, Punch Drunk, WNCL and Perc Trax, while also playing live around Europe. In recent times, Nick has preferred to remain a low-key presence, but Selvamancer are excited to have coaxed him back with his first vinyl release in 5 years! Dirtbokz is an 8 track mini-album that showcases the Ekoplekz sound of now. Recorded as always on four track cassette using hardware analogue synths and drum machines with minimal post-production, the tracks retain a raw immediacy and the dirty, dub-infused sound that he was always known for. For the Dirtbokz LP, Ekoplekz reaches back to the early acid, electro and primitive rave of his youth, all mixed in a hazy reverb-soaked echo chamber inspired by his love of '70s Jamaican dub reggae. 'Frampton Kotteral' takes a gentle detour into more melodic, sentimental territory and the set closes with the forlorn acid comedown of 'Phader'.

Better Days is the sixth release by Leo James for his own imprint Body Language. The EP weaves together the waveforms of James' evolving sound, from the first tracks he made as a teenager looping samples on an MPC, to the raw, stripped back machine funk of his early Body Language releases, and the deeper, more dubbed and smudged palette of his recent work. A lamentation on the current state of the world, to soundtrack the search for better days.

Coming together as Raz & Afla, Raz Olsher and Afla Sackey converge worlds through their dynamic fusion of electronic and traditional African rhythms, forging a path that is as bold as it is innovative. Rooted in their deep-seated passion for music and cultural exploration, they seamlessly blend their distinct musical backgrounds to create a unique sonic landscape that captivates audiences worldwide.

Raz Olsher is a visionary producer and composer known for his boundary-pushing electronic soundscapes, bringing his expertise in blending diverse musical elements to the duo. His meticulous attention to detail and penchant for experimentation form the foundation upon which Raz & Afla's sound thrives.

Already part of the Wah Wah 45s family with his band Afrik Bawantu, Afla Sackey is an esteemed percussionist and vocalist with roots tracing back to Ghana. He infuses the duo's music with rich traditional African rhythms and melodies. Afla's virtuosity on percussion instruments and his soulful vocals add a visceral, organic dimension to their compositions, creating a mesmerising auditory experience that transcends cultural boundaries.

Together, Raz & Afla defy genre limitations, seamlessly weaving together electronic beats, Afrobeat grooves, and intricate percussive textures. Their music resonates with a deep sense of cultural authenticity and a forward-thinking approach that pushes the boundaries of contemporary music.

Following on from their critically acclaimed full length debut The Cycle, and its subsequent remix project, their sophomore LP, Echoes Of Resistance, finds the duo remaining committed to exploring new sonic territories and creating music that speaks to the universal language of rhythm and melody. Once again, they invite listeners on a journey that celebrates the beauty of cultural exchange and the power of music to inspire and unite.

From more politically conscious cuts like the singles What's Going On? and We Taya, and On Da Phone, which deals with addiction to social media, to dealing with more personal and social issues on songs like ENo Be Me and Ano Be Mumu, Raz & Afla's music is something for the mind, body and spirit, as well as the feet.

There are moments of pure euphoria and unadulterated joy too though, as tracks like Mon Ni Fere, Voodoo Zeezee and Baby Moo inspire elated, tribal dance floor pleasure, and there's still time for a little, good old fashioned loving as Shikor Shikor conjures up the raw emotions of care and affection whilst delivering a hypnotic beat and instantly irresistible vocals from Afla Sackey.

With a growing discography that includes critically acclaimed releases and collaborations with musicians from around the globe, Raz & Afla continue to carve out their place in the international music scene. Their electrifying live performances are celebrated for their energy and the profound connection they forge with audiences, making every show a vibrant celebration of musical diversity and harmony.

On October 18th, Minnesota born singer-songwriter Breymer, aka Sarah Walk (she/they), will release ‘When I Get Through’ with One Little Independent Records. The album is a strikingly honest exploration of their relationship with gender and identity, and specifically it tracks Walk’s experience undergoing top surgery, from making the decision to the process itself.

Breymer utilizes a rich array of instrumentation elevated by a standout vocal performance, raw lyricism, and textured production by Grammy winning Tyler Chester. Exquisite, layered vocal harmonies across the record enforce its reflective themes, and at times the conversation seems to be internal, with much of the record posing questions such as “Am I better now?”, “Am I on the wrong path?”, “Who am I?”. ‘When I Get Through’ examines a journey of self-discovery, it’s introspective and transformative, and it’s a testament to the strength of its lead; someone willing not just to make the choice, but to document the emotional experience in its entirety.

On their decision to change their artist name, Walk explains that “this album feels really transformative to me. I was compelled to have some kind of separation between my artist existence and personal existence. Bremer is my middle name and has always been intriguing to me; I like that it’s androgynous and uncommon. I changed the spelling, and it feels like it suits my music, particularly parallel to this album, and I was ready for a fresh start. Choosing a name requires a certain amount of agency and intentionality. This album feels bold and gender non-conforming, and Breymer felt like it encapsulated all of that”.

Revelatory and radically insightful, ‘When I Get Through’ bares all as Breymer takes listeners through every stage of their pursuit for self-acceptance. Unlike anything that has come before it, Walk’s ideas surrounding their own physical and mental progress are candid, authentic and ultimately breathtaking. Amidst a body of deftly constructed songcraft and extraordinary poeticism, Breymer has penned a companion piece for anyone in search for their true selves.

On October 18th, Minnesota born singer-songwriter Breymer, aka Sarah Walk (she/they), will release ‘When I Get Through’ with One Little Independent Records. The album is a strikingly honest exploration of their relationship with gender and identity, and specifically it tracks Walk’s experience undergoing top surgery, from making the decision to the process itself.

Breymer utilizes a rich array of instrumentation elevated by a standout vocal performance, raw lyricism, and textured production by Grammy winning Tyler Chester. Exquisite, layered vocal harmonies across the record enforce its reflective themes, and at times the conversation seems to be internal, with much of the record posing questions such as “Am I better now?”, “Am I on the wrong path?”, “Who am I?”. ‘When I Get Through’ examines a journey of self-discovery, it’s introspective and transformative, and it’s a testament to the strength of its lead; someone willing not just to make the choice, but to document the emotional experience in its entirety.

On their decision to change their artist name, Walk explains that “this album feels really transformative to me. I was compelled to have some kind of separation between my artist existence and personal existence. Bremer is my middle name and has always been intriguing to me; I like that it’s androgynous and uncommon. I changed the spelling, and it feels like it suits my music, particularly parallel to this album, and I was ready for a fresh start. Choosing a name requires a certain amount of agency and intentionality. This album feels bold and gender non-conforming, and Breymer felt like it encapsulated all of that”.

Revelatory and radically insightful, ‘When I Get Through’ bares all as Breymer takes listeners through every stage of their pursuit for self-acceptance. Unlike anything that has come before it, Walk’s ideas surrounding their own physical and mental progress are candid, authentic and ultimately breathtaking. Amidst a body of deftly constructed songcraft and extraordinary poeticism, Breymer has penned a companion piece for anyone in search for their true selves.

“Do you still believe it?” John Ross asks that question after journeying through the wreckage. The genesis of Dulling The Horns goes back to late 2022, when Ross began workshopping new material during soundcheck on the ILYSM tour. Last summer, Wild Pink decamped to western Massachusetts to reunite with engineer Justin Pizzoferrato. Ross decided to record Dulling The Horns live in the room, in an effort to capture Wild Pink’s onstage style — rawer, grainier. Gone are the glimmering atmospherics and studio affectations of recent Wild Pink outings. Instead, Ross’ voice is haggard against the humid distortion coating every song. “I wanted to make economical songs,” Ross explains. “Music that is very much at its core three or four people rocking.” If before, Wild Pink took notes from Springsteen and Petty, they’ve now entered their Crazy Horse era. On Dulling The Horns, you can hear him rediscovering the fire in real time. Tropes discarded along the roadside, songs pulled from the formative DNA of rock music, all filtered through years of messy fog. “There is no answer to these problems,” Ross says, having eventually yielded. But as far Dulling The Horns is concerned, there’s at least one path forward: Burn it all away, and keep moving. The album was mixed by Alex Farrar in Asheville NC, mastered by Greg Obis in Chicago, IL and is out in October on Fire Talk.

“Do you still believe it?” John Ross asks that question after journeying through the wreckage. The genesis of Dulling The Horns goes back to late 2022, when Ross began workshopping new material during soundcheck on the ILYSM tour. Last summer, Wild Pink decamped to western Massachusetts to reunite with engineer Justin Pizzoferrato. Ross decided to record Dulling The Horns live in the room, in an effort to capture Wild Pink’s onstage style — rawer, grainier. Gone are the glimmering atmospherics and studio affectations of recent Wild Pink outings. Instead, Ross’ voice is haggard against the humid distortion coating every song. “I wanted to make economical songs,” Ross explains. “Music that is very much at its core three or four people rocking.” If before, Wild Pink took notes from Springsteen and Petty, they’ve now entered their Crazy Horse era. On Dulling The Horns, you can hear him rediscovering the fire in real time. Tropes discarded along the roadside, songs pulled from the formative DNA of rock music, all filtered through years of messy fog. “There is no answer to these problems,” Ross says, having eventually yielded. But as far Dulling The Horns is concerned, there’s at least one path forward: Burn it all away, and keep moving. The album was mixed by Alex Farrar in Asheville NC, mastered by Greg Obis in Chicago, IL and is out in October on Fire Talk.

Produced by Wild Rivers and Gabe Wax (Soccer Mommy, Adrienne Lenker), "Better Now" consists of eight tracks that complement the recent album Never Better, as the group dives deeper into the complicated, confusing and unknown realities of life in their twenties, and the personal growth they’ve found through it all. Of the new project, Wild Rivers shares: “Better Now" is our companion record, and the other side to "Never Better".

On the first record, the songs contain raw, absolute and instinctual feelings. In many ways, Better Now is the afterglow of this. We’re reflecting and understanding that relationships change over time. Complicated situations can be just that, complicated. Feelings can remain unresolved. If the first record is bright and bold, this one is the softer gradients in between; the sunrises and the sunsets. Both projects make up the full spectrum of who we are.

"Better Now" is just the moodier, misunderstood one. Musically the records really are twins. We wrote all of the songs at the same time. Finishing Better Now, we really felt that it was the close of a massive musical and personal chapter. It’s bittersweet but so meaningful to be able to chronicle our lives between these projects. Ultimately, we are optimistic; ‘better now,’ after the ups and downs of the relationships and turbulence of our twenties. Hopefully we’re wiser for it.”

Black Pus is the guttural, raw, freeform project of singular drummer, vocalist, & artist Brian Chippendale. A heavy drum foundation and distorted electronics anchor Black Pus" sound, and remain directly connected to the intensity of Chippendale"s legendary duo with Brian Gibson, Lightning Bolt. Recorded at Machines with Magnets by engineer Seth Manchester, Terrestrial Seethings is pure energy, pure Black Pus, capturing the precision, frenzy, and ecstatic performance in all its glory. After more than a decade playing and improvising, Chippendale"s imagination and curiosity continue to push his world of twisted joy in expressive new directions. While known primarily for his iconic style of drumming with Lightning Bolt, Chippendale has also worked alongside artists such as Björk, The Flaming Lips, Boredoms, Andrew W.K., and Lee "Scratch" Perry. Outside of music related endeavors, Chippendale has made a name for himself as a renowned painter and painterly silk screen artist. Known for his frenetic color work, for Terrestrial Seethings Brian created striking black drawings that, like its title, pervert assumptions. Chippendale"s approach to crafting music as Black Pus mirrors his restless and indomitable spirit as a creator. His daily practice of making music and art on his own is both as meditative and cathartic, as it is inquisitive and spontaneous.

Money & Celebrity - The Subways" explosive album Money & Celebrity. Reissued on ltd edition red & white split effect vinyl, this fan-favourite album delivers raw energy and infectious hooks that define the band"s signature sound with its powerful anthems and electrifying riffs.

Black Pus is the guttural, raw, freeform project of singular drummer, vocalist, & artist Brian Chippendale. A heavy drum foundation and distorted electronics anchor Black Pus" sound, and remain directly connected to the intensity of Chippendale"s legendary duo with Brian Gibson, Lightning Bolt. Recorded at Machines with Magnets by engineer Seth Manchester, Terrestrial Seethings is pure energy, pure Black Pus, capturing the precision, frenzy, and ecstatic performance in all its glory. After more than a decade playing and improvising, Chippendale"s imagination and curiosity continue to push his world of twisted joy in expressive new directions. While known primarily for his iconic style of drumming with Lightning Bolt, Chippendale has also worked alongside artists such as Björk, The Flaming Lips, Boredoms, Andrew W.K., and Lee "Scratch" Perry. Outside of music related endeavors, Chippendale has made a name for himself as a renowned painter and painterly silk screen artist. Known for his frenetic color work, for Terrestrial Seethings Brian created striking black drawings that, like its title, pervert assumptions. Chippendale"s approach to crafting music as Black Pus mirrors his restless and indomitable spirit as a creator. His daily practice of making music and art on his own is both as meditative and cathartic, as it is inquisitive and spontaneous.

Conscious Pilot was founded by Joe Laycock and Jack Sharp as a successor to theatrical punk group Cheap Teeth, the pair birthed the project from their joint love of immersive, beat-driven soundscapes and an exploration of subtle shifts. After recording the debut EP "Epoxy Plains" in 2024 the band have already recorded a follow-up EP "Wipe Clean". Conscious Pilot offer post-punk with a dollop of sonic melodies, inspiring lyrics and raw vocals.

Seit seiner Debüt EP „Same Kind Of Different“ im Jahr 2017 hat Dean Lewis weltweit über 13 Milliarden
Streams und Dutzende von Multiplatin-, Platin- und Gold-Zertifizierungen erhalten.
„The Epilogue“ stellt sowohl den Höhepunkt einer unglaublichen bisherigen Reise als auch einen Vorboten dafür dar, wohin er als nächstes gehen könnte. Dean sagte zu diesem Album, “On this record, I
started to get rawer and more acoustic again. I was trying to rekindle the simplicity of why things worked.
I knew what I wanted to hear, so I embraced what made the first Album special”.
Das Album enthält 12 brandneue Tracks, inklusive der gerade veröffentlichten Single “All I Ever Wanted”

Joe Henry is one of the artists who have shaped the sound of modern American folk and blues music like hardly anyone else. “Civilians”, his 10th studio album, was originally released in 2007. It takes the listener on an intimate journey into Henry’s poetic lyricism and is heavily influenced and inspired by the more melancholic sounds of folk and jazz music. Recorded in Henry’s home studio at the time, the Garfield House in Pasadena, the album has a raw and stripped-back feel, with several of Henry’s close friends and collaborators, like Loudon Wainwright III, Bill Frisell, Greg Leisz, and Van Dyke Parks, joining him in the studio to bring these songs to life. The 2024 reissue edition of “Civilians” features not only the 12 songs of the original release, but also previously unheard bonus material, including intimate demo versions of several songs on the album, as well as the all-new bonus track “Bread & Flowers”. Available on CD and for the first time ever, 2LP Black Vinyl.

Emotive and raw, British (St. Albans) punk band returns with fourth album “Heaven Can
Wait.” With “Heaven Can Wait.”, the band effortlessly blend punk rock and post-hardcore;
shining melody and searing lyricism. New album includes features from Eric Vanlerberghe
of I Prevail on single “Be Someone” & Kenta Koie of Crossfaith on single
“filthy//RIGHTEOUS”.

15 years onwards from the original release in October 2009, "This Is …" by Gizelle Smith & The Mighty Mocambos remains a classic in its genre. Upfront, raw and melodic, this super sister funk album has not aged at all. Now, in 2024, it is time for a proper re-release with unreleased bonus tracks, rare remixes and a limited edition double vinyl album. Welcome to the deluxe version of "This Is …" by Gizelle Smith & The Mighty Mocambos.

Read here what the original release sheet said about the album:

"Strong album – packs a serious punch" Craig Charles Funk and Soul Show, BBC 6 Music

"A breath of fresh air" Keb Darge

"Really amazing stuff, full of killers" Nick / Record Kicks

"Definitely recommended" Peter Wermelinger, Funky & Groovy Music Records Lexicon

"What a fantastic album – this is proper funk" Tobias Kirmayer, Tramp Records

Ever since their first collaboration on the "Mocambo Funk Forty Fives" compilation, things have gained momentum for Gizelle Smith, the "Golden Girl of Funk", and the much respected Hamburg-based label and live band The Mighty Mocambos. Their first single "Working Woman" became an overnight smash and a prime-time club favourite of funk & soul DJs from all over the world. Initially released on the Finnish private press label Old Capital, producer legend and Grammy nominee Kenny Dope (Masters at Work, Bucketheads) picked up and remixed the song for his own label Kay Dee Records. Gizelle Smith & Mocambo now step up with a full-length album of bonafide sister funk. In the days of digital recording and Pro Tools editing, they show true exception to modern techniques and create their highly regarded, unique and raw soul sound, by making use of simple dynamic microphones and reel-to-reel tape machines. In a genre which is often littered with overused clichés of the past, the charismatic Gizelle Smith adds a lot of her own flavour rather than slavishly copying icons of bygone decades. The result is a refreshing alternative to post-millenium plastic pop without being a mere retro rip-off. From the heavy and determined "Gonna Get You" to vulnerable, gospel-tinged laments such as "Coffee High", "This Is Gizelle Smith & The Mighty Mocambos" is just as deeply rooted in the music from the golden era of soul as it is a modern masterpiece in its own right. Blazing horns, soulful guitars, driving drums and basslines combined with Gizelle's gripping and powerful voice all weave together to create a long player that is varied and coherent at the same time.

We are very happy to welcome back Mr. Rick Wade on the 25th RAWAX MOTOR CITY EDITION!
It's almost the 4th release form Rick Wade on this series, which is dedicated to the Love for Detroit Music and
in our opinion the strogest so far!

Hugo Race (Dirtmusic, Fatalists, ex-Bad Seeds) and Michelangelo Russo (True Spirit), fuse rock, blues, ambient and electronic sounds on their raw, compelling new album "100 Years".
In 2017, the duo released John Lee Hooker's World Today (Glitterhouse/Gusstaff Records), a tribute to the blues legend's delta blues legacy reinvented in a swirling mix of analog grit and deep trance pulses.

100 Years showcases the duo's sonic chemistry against Race's stark songwriting. Inspired by the raw majesty of early blues recordings, the album was recorded in two days in a non-stop live Hugo Race & Michelangelo Russo - 100 Years session. Amplified harmonica, open-tuned guitars, smoky vocals and primal foot beat walk us through a landscape of dreamlike devastation, a hypnotic wall of sound suspended in time and space celebrating endurance and redemption, hand-made from ancient roots. "Tradition does not mean passing the ashes, but the fire."

100 Years. Recorded November 1 & 2, 2023.
Engineered by Andrew 'Idge' Hehir at Soundpark Studios, Melbourne.
Mastered by Giovanni Versari at La Maesta, Milano.
Published by Peermusic.

PRESS about former album:
Rock'n'Roll Monuments, Greece:
"Race and Russo's pioneering electronic atmospheres give the historical Blues something you never imagined possible."

Rolling Stone, Germany: 'Dark Eros and transcendental blues…'
Musikreviews.de, Germany: "A psychedelic ghost blues of a profound sort, a mature, sensitive interpretation of the music and lyrics of John Lee Hooker. (Race and Russo) have blown us away in slow motion, economically instrumented and with painfully beautiful intensity. "

Q, London: "A darkly singular experience then, and one of the best records (Race) has ever made..."

The Music, Australia: "A collection of bluesy, brooding songs from a talented singer-songwriter with three decades of musicianship under his belt."

Eclipsed, Germany: "Hypnotic rhythms and haunting guitars, this album tingles under your skin..."
Focus Kultur, Germany: "No one else makes music like this, and that in itself is an achievement..."

Rock and Folk, Paris: 'This traveler without borders advances through a menacing atmosphere of no-wave electro-acoustics. Here is the spirit, and he does not forget
the body and the soul ... '
Tom Tom Rock, Italy: "An almost epic attack, worthy of the soundtrack of an apocalyptic post-nuclear catastrophe film… a talking blues of the third millennium, filtered by years of psychedelia and industrial music - and the Berlin years of Hugo Race can certainly be felt - hypnotic and dark, but precisely for this reason enveloping and fascinating. A record in which the music of the legendary bluesman is completely transfigured, without, however, the fidelity to his "spirit" and his "message" being questioned in the slightest. In short, JLH is alive and fighting with us, if we find the strength to follow him."

Hugo Race (Dirtmusic, Fatalists, ex-Bad Seeds) and Michelangelo Russo (True Spirit), fuse rock, blues, ambient and electronic sounds on their raw, compelling new album "100 Years".
In 2017, the duo released John Lee Hooker's World Today (Glitterhouse/Gusstaff Records), a tribute to the blues legend's delta blues legacy reinvented in a swirling mix of analog grit and deep trance pulses.

100 Years showcases the duo's sonic chemistry against Race's stark songwriting. Inspired by the raw majesty of early blues recordings, the album was recorded in two days in a non-stop live Hugo Race & Michelangelo Russo - 100 Years session. Amplified harmonica, open-tuned guitars, smoky vocals and primal foot beat walk us through a landscape of dreamlike devastation, a hypnotic wall of sound suspended in time and space celebrating endurance and redemption, hand-made from ancient roots. "Tradition does not mean passing the ashes, but the fire."

100 Years. Recorded November 1 & 2, 2023.
Engineered by Andrew 'Idge' Hehir at Soundpark Studios, Melbourne.
Mastered by Giovanni Versari at La Maesta, Milano.
Published by Peermusic.

PRESS about former album:
Rock'n'Roll Monuments, Greece:
"Race and Russo's pioneering electronic atmospheres give the historical Blues something you never imagined possible."

Rolling Stone, Germany: 'Dark Eros and transcendental blues…'
Musikreviews.de, Germany: "A psychedelic ghost blues of a profound sort, a mature, sensitive interpretation of the music and lyrics of John Lee Hooker. (Race and Russo) have blown us away in slow motion, economically instrumented and with painfully beautiful intensity. "

Q, London: "A darkly singular experience then, and one of the best records (Race) has ever made..."

The Music, Australia: "A collection of bluesy, brooding songs from a talented singer-songwriter with three decades of musicianship under his belt."

Eclipsed, Germany: "Hypnotic rhythms and haunting guitars, this album tingles under your skin..."
Focus Kultur, Germany: "No one else makes music like this, and that in itself is an achievement..."

Rock and Folk, Paris: 'This traveler without borders advances through a menacing atmosphere of no-wave electro-acoustics. Here is the spirit, and he does not forget
the body and the soul ... '
Tom Tom Rock, Italy: "An almost epic attack, worthy of the soundtrack of an apocalyptic post-nuclear catastrophe film… a talking blues of the third millennium, filtered by years of psychedelia and industrial music - and the Berlin years of Hugo Race can certainly be felt - hypnotic and dark, but precisely for this reason enveloping and fascinating. A record in which the music of the legendary bluesman is completely transfigured, without, however, the fidelity to his "spirit" and his "message" being questioned in the slightest. In short, JLH is alive and fighting with us, if we find the strength to follow him."

10 brand new songs mixed and mastered by Jack Endino (Nirvana, Soundgarden, Mudhoney, L7, Screaming Trees, Zeke...). Having past 28 years since the last long play (Fuzz Godz, 1996, a Kent Steedman production) and after the rebirthing of the band and come-back from the vaults of oblivion, La Secta take the right decision to record ten brand new songs now with the hand of Jack Endino (Nirvana, Soundgarden, Mudhoney, L7, Screaming Trees, Zeke...) behind the mixes and masterization, from his Seattle studio, not able to come to Spain due personal health issues. This fourth Long Play takes intense power, giving the sound another stratospheric dimension after Mr. Endino treatment. Ten songs surfing from psych rock and dark psychedelia through the Aussie Rock and raw folk to ranking psych jungle and the darker Stooges with some groovy garage, grunge and surround psychedelic elements. For fans of psych rock, dark psychedelia, aussie rock, raw folk, groovy garage, grunge...

Boudica is proud to present their first record of 2024, featuring an artist who holds a special place within the platform - none other than DJ and producer Wallis.
DJ, live-act and former mastering engineer, Wallis speaks for a generation searching for novelty and emotion in the electronic music realm.
Sharp engineering skills coupled with a unique approach to sound design allowed her to develop a trademark sound. Using an array of synthesisers, effects units, and experimental studio techniques, Wallis produces melancholic electronic music rapidly shifting between different patterns and atmospheres.
She tours as a DJ and Live Act around the world, having played large festivals such as DGTL or renowned clubs like Berghain, and will happily play at a large stage one day but at a small intimate sweaty basement the next.
In 2024, she started producing music for fashion shows and debuted that project by creating the music for the entire Natasha Zinko runway show at London Fashion Week February 2024.
The EP's opening track, "Hell is a Girl from Before (Rainy Summer Mix)," introduces a stirring blend of emotions. Starting with an emotional melody, accompanied by synths and a plucked instrument, it swiftly transitions into energetic segments driven by the drums. Vocals emerge, their words almost imperceptible, adding an intimate layer to the experience. The track maintains a steady pace, evoking the ambience of a rainy summer day. This creates a melancholic yet hopeful mood, transporting listeners through a journey of introspection.
As "Protect Me From My Friends" unfolds, it feels like being whisked away to a new dimension, greeted by otherworldly, robotic sounds. The introspective journey of the previous track mutates into raw emotions, driven forward by a relentless bassline. Clear vocals take the forefront, guiding the listener through the sonic landscape, only to be interrupted by the commanding presence of the bassline, which assumes the main character role.

In "Sleeping Pills Are Gone," an atmospheric and gloomy introduction is abruptly interrupted by an acid and hefty bassline that dynamically evolves throughout the track, plunging the listener into an eyes-open dream born of a sleepless night. The vocals echo the track's title, creating a haunting repetition. Wallis strategically grants brief breaks, constructing a powerful crescendo that heightens the experience. These are momentary escapes before immersing the listener once more into the hypnotic trance induced by the solid four-to-the-floor march.
Closing the EP with a striking finale, "Teenage Apocalypse" introduces a clunky melody that encapsulates the signature sound of the record. Characteristic vocals weave throughout, guiding the listener towards the track's crescendo. Driven by a flawless fusion of drums, the song transitions seamlessly into a powerful breakbeat moment, accompanied by yet another impeccable bassline. True to its title, it evokes the intensity of a day of judgment, leaving a lasting impact as the EP draws to a close.
This EP is a testament to Wallis's growth as a producer and her fantastic storytelling ability through sound.
In the artist's words: "Sometimes life takes a weird turn. Angry, confused and dealing with moral: this EP targets the pain and absurdity of attachment and strongly themes Gregg Araki's teenage apocalypse trilogy. The artwork poem plastered on the wall was written by wallis."

Spooky has long been one of the hardest working soundmen in East London. At any given time you can see him streaming sets on Insta, blasting out tunes, and being the OG cat he always has been, with a reverence for the roots of Dub, from the Jamaican roots to US Garage and back to his backyard via his Grime/Dubstep/UKG cuts, which are always full of raw depth and swing.

This is why it was more a matter of what to fit on his first EP on LoDubs, given when the conversation was started about RAS Riddims a whole deluge of tracks came our way. Clarty Steppers is not only 6 of the best of those, but 2 bonus tracks in the accompanying DL, and the option to get those 2, and a extra VIP of one of those tunes which will only ever be available via the companion Poly Cut of this release

Corrosion of Conformity’s 1994 album, Deliverance, is a land- mark in the band’s evolution, blending heavy metal, stoner rock, and southern rock influences. Released on Columbia Re- cords, the album propelled the band to mainstream success, with standout tracks like “Clean My Wounds” and “Albatross” becoming iconic hits.

Deliverance showcases Corrosion of Conformity’s groove-driv- en sound, featuring heavy riffs, dynamic rhythms, and the powerful vocals of Pepper Keenan. It marks a shift from their earlier punk roots to a more melodic and structured style that appeals to both metal and rock fans alike. Praised for its gritty, Southern-influenced vibe, Deliverance remains one of COC’s most influential albums, solidifying their place in the metal scene.

Discover Corrosion of Conformity’s Deliverance for a raw, heavy-hitting experience that defined 90s metal. Deliverance is a limited edition of 1500 individually numbered copies on crystal clear vinyl.

Colemine's reissue imprint Remined is back with another one! Delving deeper in the rare California soul/funk scene from the past, this one is a two-sided burner from The San Fransisco TKO's! A super rare 45 from the Golden Soul label, the A-side is a funky midtempo instrumental aptly named for the band's Herm Henry. But the bside is the true gem, a killer raw and super sweet rendition of The Miracles' "Ohh Baby Baby". Funky a-side. Super sweet b-side. Can't miss. Limited press, get 'em while they're hot!

Very special rare raw acid techno release on the Interstate One label from Strike Force !! Check this one out !!

In a simultaneous act of defiance and impishness, Sham Family are etching their name in the wet concrete out front of the establishment. Hailing from the vibrant music scene of Toronto, Canada, the dynamic quartet is emerging as a prominent voice in the contemporary post- punk landscape.

To know Sham Family is to witness them perform live in the flesh. From the very first note, the room teeters between collective catharsis and a sort of beautiful, focused chaos. Blisteringly loud and remarkably lush, their live show is not only a testament to the meticulous craftsmanship of their music, but a downright physical feat. Broken strings, sweat, and the occasional minor lesion are collateral damage that only serves to strengthen their ultimate goal: deliver the loudest, most captivating show utte rly possible. Catching the attention of the newly formed Wavy Haze Records, spearheaded by indie icons Born Ruffians, Sham Family were the first non-Ruffians to join the label’s esteemed roster.
In 2022, they released their debut self-titled EP: a strikingly raw introduction to their leave-it-all-on-the-floor brand of shoegazey punk. The release quickly gained traction, propelling Sham Family onto stages across the United States and Canada. Now, Sham Family are gearing up to release their highly-anticipated full-length album, A Deaf Portrait of Peace, in 2024. Produced by the renowned Graham Walsh (METZ, Debby Friday, Preoccupations, Alvvays), the record promises to embody the propulsive ener gy of their live performances while venturing into uncharted sonic territories.

Jason Kolàr (Stroom) returns to Dauw on this collaboration with Japanese musician Fumitake Tamura (Leaving Records). 'Ōki-sa' documents the duo's encounters during Kolàr's Japan tour in September 2023.

Fumitake Tamura and Jason Kolàr met in Tokyo during Kolàr’s Japanese tour in September 2023. Sharing a mutual admiration for their previous works, they decided to meet at Soundbar Patrol in Sangenjaya for a series of improvisational sessions.

The album contains a chronological sequence of ideas recorded on those summer afternoons, seamlessly connected by raw textures, lo-fi synths, and abstract beat-filled sound collages.

The title Ōki-sa was Kolàr's idea, a phonetic form of the Japanese word for 'size.' Fumitake found the Japanese phonetics of macrons and hyphens, which are not usually used in Japan, so visually interesting that they were adopted for the title.

Language communication is always subject to misreading and misunderstanding, even between speakers who share a mother tongue. Communication using sounds, which have no clear meaning, is even more prone to misreading and misunderstanding than language. Acknowledging this, they engaged in an intuitive process, with no prior discussion about references or guidelines, freely exchanging ideas and allowing the music to evolve organically.

This record aims to capture a three-day intersection of language and musical miscommunication, while also reflecting personal bonding and human connection.

Obijuan & YUNGMORPHEUS join forces on SLANG CASINO. Smoked out raw hip hop that sees Obijuan's unique flow tread across a range of soul & funk laced beats produced by YUNGMORPHEUS. But since both artists are of Bahamian and Jamaican descent respectively, they wanted to bring it back to their Island roots and blend some reggae with the grittier hip hop sound they're known for. Slang talk, bravado and esoteric maundering run throughout the record, with guest features from Rahiem Supreme, Bisk, and looms.

London-based label Dancing With Strangers is back, after a brief hiatus, with the third edition being served up by none other than head honcho Oliver Moon.

On his third solo outing as an artist, Moon delivers two solid tracks in the shape of ‘Downstream' and ‘Drifting’. Both of which exercise his signature raw take on production and showcase an ability to carry a consistent groove whilst weaving deep, dreamy sounds into classy percussive work.

Dancing With Strangers Co-founder Agile Kind returns on remix duties to tackle ‘Downstream’ and does so wonderfully. Following the lead baseline, he layers lush pads around crisp skippy drum programming and lands on pure euphoria.

Last but certainly not least, the inimitable Carl Finlow (2020 Vision) rounds off the EP with a stellar electro remix of ‘Drifting’. Leading with a thick, growling bass and fusing cinematic synth work with playful acid stabs, Finlow captures the essence of the original. The end result is a beautifully emotive track entwined with stunning melodic elements destined for the dancefloor.

Big Crown Records is proud to present the reissue of one of Brooklyn’s most sought after “holy grail” soul records, YIA Talent Hunt Winners. Youth in Action, Inc. (YIA) was formed in 1963 when the Central Brooklyn Coordinating Council received a grant to develop a youth services program in the Bedford-Stuyvesant community. It was originally organized to identify and address the social problems that were leading to the high crime rate in Bed-Stuy. Recently the Smithsonian Museum of African American History released an archive of footage filmed by a community activist, which shows the real-world effects of the group’s efforts: young people engaged in sports, the arts, and other activities to better themselves and their world. The appearances by Jackie and Bobby Kennedy point to the group's relationship to the Great Society programs of President Lyndon B. Johnson. What there is no mention of in either the NMAAHC’s collection of YIA materials nor in the Brooklyn Public Library’s also extensive collection is this talent show and the record that came to be because of it.
Local vocal groups chose tunes to cover from the era (1964 - 1968) ranging from The Rascals to The Intruders, from The O’Jays to Billy Stewart. All of these groups were backed by a local act called The Thrillers Band. The winners of the talent contest were then invited into the studio to record their versions which would be pressed up on this record and given away to local radio and TV stations. The hope of the whole thing was that this would help the young groups get discovered by producers and record labels and start their professional music careers. The intro to the album is Reverend Horace Tyler congratulating the winners and asking them “to just remember, when you reach the top and become our big stars of tomorrow, don’t forget YIA”.
What this album may lack in fidelity and production it more than makes up for in charm. The engineers at the recording sessions pump in pre recorded applause and screaming to give the it the feel of the day of the contest while the young groups sing their hearts out, clearly giving their all. From today’s perspective, soul music fans will lose it over the choices of covers on this record and the killer, raw, innocent performances of them by these local Brooklyn groups. The Channels 4, Carla & The Carlettes, The United Souls, Sharon Seabrook & The Starlettes, and The Destinations all won that day and got to take place in this record. It makes you wonder, and even pine for the performances of the groups who didn’t make the cut, even if just to find out what tunes they covered, or better yet, were their original songs written by some of them for this contest?
It is with great pleasure that we make this available to the public again. This is a truly rare record, and an awesome piece of New York History.

RAWAX welcomes Johnny Kick to the artist family!
We are very happy about this trip back in time - lovely 90's Retro Rave anthems here!

RAWAX welcomes ENNESS to the family! We are very happy about this fantastic release.It shows again that it's worth
to check all demos we receive day by day. This upcoming HOUSEWAX called "Let Me Love" is here on righ rotation and we believe it's a future classic.

RAWAX welocmes Phil Robertson from Dublin to the artist family!
We are very happy to present you this great artist under his MIX-O-LOGY Alias on ELECTROWAX!
Highly recommended!

RAWAX welcomes ENNESS to the family! We are very happy about this fantastic release.It shows again that it's worth
to check all demos we receive day by day. This upcoming HOUSEWAX called "Let Me Love" is here on righ rotation and we believe it's a future classic.

The Concealed Club Manifesto project pays homage to the mid 2000s underground UK club music scene, an era of music which acts as well of inspiration and creativity for the Nouveau Monica, and has no doubt helped shaped his sound. For the French producer, the UK club scene holds a special allure and mystique, especially since he observed this phenomenon from afar, and was idealized as one of the most “pivotal” moments in underground club culture, making it seem intangible, hence concealed. Nouveau Monica’s sound palette is deeply rooted in the UK scene, which he combines with his own personal musical background. This mid 2000s UK club sound is what the producer defines as his “Golden Era” and the genres created during that time are the building blocks of the Concealed Club Manifesto EP.

“See the Light” closes the EP as a triptyque. First with the OG version, cut out to be the straightforward, grimy, clean, and uncluttered bass track the producer always seeks for when going for the uncompromisingly strong raw material.

The second version conducted by Nouveau Monica as an alternate 4/4 version of the same title, harmonizes the repetitive chopped vocals with a technically syncopated drum loop designed for a new mental perspective, an after-hours sensation that blurs the line between euphoria and melancholy.

The last iteration of “See The Light” comes from none other than Hodge himself. A club tailored cut with a heavy groove, pattered with percussive elements, followed by sun drenched melody and sweltering pads that unleash into a a bellowing bass track, perfectly suited for peak sunset hours at a day rave an unforgiving Soundsystem.

Split #3 is the latest installment in the Split Series released by Overthink Records, showcasing a dynamic blend of techno and EBM from talented producers. This record features two sides, each offering distinct yet complementary styles.

Corsica producer Charlou takes over the A side with two techno tracks, delivering a unique sound that seamlessly blends retro and modern elements.

On the B side, Italian producer Waveratio 618 makes a strong debut with two solid techno/EBM tracks. Waveratio 618's music is marked by its gritty textures, driving beats, and dark / atmospheric tones. The tracks merge the raw intensity of EBM with the precision and complexity of techno, creating a sound that is both intense and hypnotic.

Lee Holman's forthcoming release, 'NECH026,' marks his return to NECHTO, following his 2022 EP on Nastia's imprint. With an uncompromising underground ethos, Holman has built a solid international reputation through his distinctive techno sound. His performances as a live act and DJ have taken him to prestigious venues like TRESOR Berlin, Khidi Tbilisi, and Corsica Studios London. Known for his vast record collection and dynamic performances, Holman's productions have earned international acclaim.
The upcoming EP evolved organically, with three of the five tracks being part of Holman's live shows for NECHTO events. The lead track, "Wave upon Wave," was recorded live after an event in Kyiv, while the other two were from a session at Khidi Tbilisi. Holman initially did not plan to release these tracks, keeping his live performances unique for each night. The bonus track, "It's Not Over," features a beautiful vocal piece and soulful techno accompaniment.
Inspired by nature, particularly the sea surrounding his island home, Holman channels this inspiration into his music. The five tracks of 'NECH026' reflect his signature deep, raw, and energetic techno
sound.