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If now the time for voodoo amulets and protective talismans, sharpened swords and unbreakable shields, it’s also a moment for music to assume its highest form as a healing art, a source of benevolent spells, and a refuge from the chaos. After all, the best creators are always those that tap into the telluric current that exists below the surface. Those who delve into the collective unconscious so that timeliness is a happy accident; timelessness was always the intent. If Quelle Chris and Chris Keys’ Innocent Country 2 sounds like an antidote for a moment of surreal anxiety, the same could be said of it a decade from now. It’s an album best understand in a dialogue with the first volume of the series. Released in 2016, the initial Innocent Country focused on isolation, pessimism, and the notion of finding peace within pain. At a time when those feelings convey the mood of the moment, Quelle and Keys have responded with a soundtrack that offers soothing light in a bleak timeline. A hopeful record in a hopeless moment, precisely when it’s needed most.

"Ten years after signing his first record deal with Big Machine Label Group’s The Valory Music Co., arena-packing superstar Thomas Rhett — dubbed “the most reliable maker of No. 1 singles in country music” (Variety) — has five studio albums, 18 MULTI-PLATINUM and GOLD-certified No. 1 hits, 12 BILLION streams and the longest current active streak of consecutive No. 1s in the format (Mediabase/Country Aircheck Chart). He has been honoured with eight ACM Awards including Entertainer of the Year, two CMA Awards, five GRAMMY® Awards nominations, plus trophies from the CMT Music Awards, Billboard Awards and iHeartRadio Awards, in addition to being recognized with two CMA Triple Play awards for penning three No. 1 songs within a 12-month period. Thomas Rhett is delivering his sixth studio album WHERE WE STARTED on April 1. Inspired by his return to the road, the set marks a similar return to his in-the-moment mix of tempo, transcendent romance and tip-of-the-spearsonic trailblazing, as Country’s resident good-life philosopher.
RADIO: BBC Radio 2, Absolute Radio Country, CountryLine Radio, Downtown Country, Smooth Country
PRESS: MTV UK, The Express feature, Why Now, 1883, Atwood, Darkus, Maverick, country specialist outlets, UK bio written by Lisa Verrico (The Times)
SOCIALS: TW: 2.4M, FB: 2.4M, IG: 4.4M, TikTok: 802.5K
Available as a 2 LP black vinyl."

When producer, songwriter and multi-instrumentalist Diogo Strausz arrived in France for the first time, he already had an impressive CV. First, as part of the duo Balako, his music was released on Razor-N-Tape, Barefoot Beats and Greco-Roman after gaining the attention of Joe Goddard of Hot Chip. His tracks also have been played by Gilles Peterson on BBC 6. He also produced Brazilian indie artists such as Castello Branco and Alice Caymmi and remixed a track by Brazilian legend Gal Costa. Arrived in France, it is by signing the co-production of the disc "Les Bruits de la Ville" of Voyou or tracks for Julia Jean-Baptiste that he drew attention.

Freshly signed on Goutte d'Or Records, affiliated label of Cracki Records, to whom we can thank for Agar Agar, Saint DX or Alma Elste, Diogo Strausz will present his first EP Flight of Sagittarius in April 2022. Flight of Sagittarius is both retro and current. Between the old school boogie of Marcos Valle and the jazz funk of Azymuth but also the sunny groove of Nu Genea or the electro-funk productions of Guts.

Gondwana Records sign LA bassist and composer Seth Ford-Young's Phi-Psonics project and announce a remastered deluxe-edition of The Cradle featuring bonus material

Phi-Psonics is a meditative, immersive instrumental group from Los Angeles, led by bassist Seth Ford-Young and featuring Sylvain Carton on woodwinds, Mitchell Yoshida on electric piano, and Josh Collazo on drums. Their deeply soulfulmusic draws on jazz and classical influences together with Ford-Young's own musical experiences, relationships, and his introduction to spirituality, yoga and philosophy at a young age, to create something uniquely its own. Phi-Psonics' name and ultimate aim is to find 'Phi' – the golden mean – in art, nature and self. Ford-Young explains:

"It's a bit of a cliché, but music saved my life many times and instilled in me a belief in the great power of healing through art. It is my hope and intention that this music provides healing to someone somewhere."

Originally from Washington DC area, Ford-Young moved to California in the early 90s and fell in love with the deep sounds of the upright bass and the music of Charles Mingus, John and Alice Coltrane, and Duke Ellington along with Bach, Chopin, Pärt, and Satie. He immersed himself deeply in music and keen to learn combinedintense personal study with collaborations, tours, and recordings with artists such as Tom Waits, Beats Antique, and John Vanderslice. In 2010 he moved from the San-Francisco Bay area to the Los Angeles hills and continued his explorations. But great music is rarely just about music and Ford-Young's meditative, soulful music draws on more than just the twin wellsprings of jazz and classical music:

"My mother was a yoga teacher from the early 70's until recently and taught me yoga and meditation at an early age, my stepfather is an Aikido instructor and student of the teachings of Gurdjieff. Those were all early areas of study that I came back to many times throughout my life. Phi-Psonics has been a project that unapologetically synthesizes some of these ideas into our music".

It's this mixture of influences, musical and extramusical, that gives the music of Phi-Psonics it's immersive quality and quiet power. Revealingly the music that would becomeThe Cradle, wasn't written specifically for an album, originally Ford-Young was just writing down what was coming through. As time went by and the album began to take shape, the world situation seemed to be getting darker and his compositions aim to offer hope as a response to the negative influences that abound today. Remarkably for such a beautiful sounding record, it was recorded at the composer's home, rather than in a studio, but the relaxed nature of this process gives the music an airy lightness that propels the music to some magical spaces.

Originally self-released on vinyl in a limited run just as the world went into lockdown, The Cradle reached Matthew Halsall (founder of Gondwana Records) when he aws looking for music for his Worldwide FM show and he was blown away, hearing a kindred spirit at work. Halsall explains:

"Phi-Psonics make beautiful, humble and honest music, it's not showy, but it has a deep vibe that will elevate your mind and soul if you let it. When we heard The Cradle we reached out and are really super delighted to welcome Seth and his band to our label". Whereas for Ford Young: "Connecting with Matthew and the Gondwana records family has been a light in the darkness of the last years - to have my music make connections even as we are more isolated."

Ford-Young is currently putting the finishing touches to the second Phi-Psonics record, but aware that only a select few had heard The Cradle, let alone had the chance to buy a copy, and entranced by its deceptive simplicity and elevating energy, Halsall suggested that Gondwana present the album as a remastered 'deluxe edition' with an extended running time featuring extra tracks and new artwork from Daniel Halsall.

The Cradle starts with First Step, perfectly setting the tone for the whole album, it is a beautiful, soulful slice of musical calm gently propelled by Ford-Young's resonant bass and elevated by sublime flute and Wurlitzer electric piano solos. The seductive title track The Cradle was written way back in 2011 during a time of great personal change that led the composer to a feeling of newness and nurture. The magical, winsome Desert Ride is inspired by many rides through the grandly cinematic Mojave Desert. You can experience how incredibly full of life it's harsh landscape is if you slow down to its tempo. The gentle, sublime Mama is a tribute to mothers of all kinds, beautiful and heroic. Drum Talk was largely improvised, Ford-Young and the band agreed on a topic and recorded their conversation. Choosing their notes based on how Josh's drums were tuned. Like Glass is named for the special properties of Glass. Like some music, glass is delicate, yet has structure. The first of the two bonus tracks Still Dancing was written during the early days of 2020 in response to the challenges we all were facing then. It's a reminder that the figurative dance continues and that real dancing is essential. And the second, The Searcher, also written as a response to 2020, is a gently hypnotic song about the introspection and growth that can spring from a difficult situation.

This then is The Cradle, a quiet self-contained masterpiece, life-affirming and elevating in equal measure and the first offering from a wonderful new voice in spiritual jazz and the latest members of the global Gondwana Records family.

France pianist Vanessa Wagner continues her exploration of the minimalist repertoire by introducing her audience to pieces, many rare or unpublished, by acclaimed composers, young pianists, and genre-bending personalities from the ambient and electronic scenes. In France or even Europe, Vanessa Wagner is practically the only "classical" pianist to tackle this contemporary and timeless repertoire. Study of The Invisible features interpretations of pieces by a spectrum of composers that includes Suzanne Ciani, Harold Budd, David Lang, Bryce Dessner and Phillip Glass.

Described by Le Monde as ‘the most delightfully singular pianist of her generation’, and by Libération as ‘one of the most curious and captivating pianists on the French scene, Vanessa Wagner is able to balance parallel careers. As well as performing a classic solo, chamber and concert repertoire on stages all over the world, through her output on InFiné she is continuously exploring paths that are equally personal, but perhaps more intimate. Study Of The Invisible sees her breaking new ground in a musical tradition, in a way that no other ‘classical’ pianist in France and Europe currently does. Often described as ‘minimalist’, it’s a musical tradition that covers a multitude of singular styles and musical personalities and that spans generations.

Study Of The Invisible seeks out the mysterious world that lives behind the score, the imperceptible links that unite these silences and harmonies, but also the inner resources that this music can bring to light. With this record and this journey, whose apparent melancholy ultimately proves to be powerfully comforting, Vanessa Wagner continues to give a new scale to a music which proves to be above all radiant and luminous.

*are Vinyl exclusive tracks

Ahead of the release of his much awaited debut album « blablablue » , Belgian singer-songwriter Delv!s just shares a new single, the dreamy “Human Trumpet”.

It’s no secret that Belgium owes much of its cultural prestige to its vibrant music scene. Lately, with much of the attention turned to Flanders, the Flemish side of the country is playing host to many exciting, genre-bending projects, including a tremendously innovative rap scene and a lively pool of electro bands walking in the footsteps of pioneers such as Soulwax: A tradition that Delv!s, one of the country’s most exciting newcomers to the soul, blues, disco-funk and pop genres, is set on honouring.

Delv!s is now ready to introduce “blablablue" to the world: a soul album infused with electro, funk and rock sounds, blended with a score of field recording samples; twelve tracks all penned by himself, unveiling a whirlwind of emotions that fuel the singer’s unique voice. The nostalgic brass arrangements and vintage-sounding harmonies may evoke Billie Holiday, Nina Simone or even James Brown at times, but “blablablue” nevertheless triumphs as a current and socially relevant record thanks to its topical commentary and diverse influences. Addressing many of the great issues plaguing the world today, including the sense of urban solitude, this is the first offering by a great artist, a sensitive soul also fluent in the language of love. Something to reflect on, unite us and even comfort us at times when we need it the most.

Following two stunning singles, prodigiously talented producer and composer Frederic Robinson is set to drop his debut album,
'Mixed Signals', on Blu Mar Ten Music on 14th October. The album is the culmination of over a year's work and a lifetime of musical
obsession for Robinson, comprising of a series of intricately crafted and delicately emotive tracks exploring a forward-thinking
electronic vision, which he describes as "music for the listener with a broad horizon and a short attention span'.
Over its eleven tracks, 'Mixed Signals' gives Robinson the canvas to showcase the full breadth of his talents like never before.
Amalgamating the many influences that inform his productions, from drum & bass and electronica to contemporary classical
composers, 'Mixed Signals' is a brilliantly crafted and coherent artistic statement that draws upon his talents as a classically trained
multi-instrumentalist as well as an electronic producer. Filled with light and shade, impact and intricacy, 'Mixed Signals' is much more
than a drum & bass record or a collection of club tracks; this is an album in the truest sense of the word.
"So far, this album is my biggest musical project and my greatest achievement. I worked on it for about a year and went through many
different creative phases in that time, all of which are represented somewhere on the LP. It is a summary of my current talents, skills
and interests. It marks the end for some ideas and concepts and the beginning for many others." - Frederic Robinson.
Built from a collage of acoustic and electronic elements, Robinson's music is a dense patchwork of skittering rhythms, found sound
and lush instrumentation, which harnesses a compelling emotional draw as much as it does an undeniable dance floor energy. Both
immediate and nuanced, 'Mixed Signals' is a brilliant balance of contrasts.
The sweeping drama of previous single 'Theme Park' opens the album, remaining as fresh and brilliantly unique as ever, while 'Off
Topic' and 'Bloom' featuring Stray both also provide familiar touchstones, exploring esoteric manifestations of 170 bpm's outer
possibilities. Three vocal tracks are scattered throughout the tracklist, with the soft, otherworldly tones of Melanie Robinson providing
an entry point to Robinson's world of broken percussion and wandering melodies.
Elsewhere, 'Vamp Till Ready' balances rich string orchestration against a wave of skittering percussion and 'Shut' offers an expansive
beauty in its naïve, dreamlike melodies. 'Particles' showcases an innate understanding of drum & bass constructs, warping tight
breaks and deep bass against bold blasts of colour while the eponymous track explores a playfully off-kilter and delicately nuanced
downtempo vision, before the album is played out on wave of hazy melodies and light-footed rhythms with closer 'Static Float'.
'Mixed Signals' provides the broad canvas that Robinson thrives in painting with his sprawling musical influences and complex
arrangements, and the results are phenomenal. The album is a masterpiece in dance floor escapism from a talent whose career is
undoubtedly in the ascendant.

All Away Lou is the new band from Lou Hanman; a 40 something, queer, English woman living in Philadelphia, PA, still playing punk rock three decades in because it's fun and she needs it! The force behind UK punk favourites Caves & Flamingo 50. Lou emigrated to the US 6 years ago to pursue music full time, touring & recording drums, bass, guitar for the likes of RVIVR, Mikey Erg, Thin Lips, Katie Ellen, Queen of Jeans, Worriers. After a significant songwriting drought, the pandemic and a break from touring gave Lou the space to focus on her own musical output and spend some time recording at Headroom Studios in her current hometown of Philadelphia, PA with Kyle Pulley and Jackie Milestone. While she records everything herself, All Away Lou is very much a band, and an opportunity to get loud, sweaty and rock out as soon as the possibility arises. The name simply comes from never feeling at home, always away. She had felt the culture shock of moving to the states from the UK (especially of the political landscape after November 2016) and a breakup that underpinned the realization that life was not turning out the way she had hoped. Lyrics on the record reflect this point in Lou’s life: the need to return to a feeling of “home” and have the courage to change her mind, take a new path and not settle for things that didn’t feel right. All Away Lou will be taking the album on the road with dates in the UK & Ireland supporting Jeff Rosenstock & Fresh in April 2022.

Pressed on recycled vinyl.

Oonops's first encounter with Japanese producer Shin-Ski dates back six years when he asked him for an exclusive guest mix for his show on Brooklyn Radio. He became aware of him years ago through his group ShinSight Trio with Insight and DJ Ryow a.k.a. Smooth Current. After one more mix and two collaborations on his Resense-series plus "Oonops Drops - Vol.1" compilation via Agogo Records they started working together on a whole album of instrumentals.

For this 45 Oonops had the chance to dig through an amount of unreleased tracks and selected some of the essential essences with different influences from Jazz, Soul, Funk and much more.

Studio Electrophonique is James Leesley: a young songwriter and musician from Sheffield.

Since the critical acclaim accompanying his sought-after debut 10" album "Buxton Palace Hotel" in 2019, James has captivated audiences performing at his own curated events in Sheffield, Liverpool, London and Paris as well as at The Green Man and End Of The Road festivals.

In 2020 Studio Electrophonique performed at L'Olympia in Paris at the personal invite of the legendary Étienne Daho as well as across the UK and Ireland with Richard Hawley - both are long-time supporters and admirers of James's work.

James is currently putting the finishing touches to a film featuring Jarvis Cocker and Sean Bean which retraces the fascinating history of Ken Patton's original Studio Electrophonique home recording studio in Sheffield.

Songs come to James Leesley in airless attics, dinner time chippies and late afternoon bookies shops; on long walks through town with a sandwich in each pocket, on morning runs through the park in lost-property trainers or on the top deck of the 52A with rain-laced windows and wet toe-ends.

He records on an old four-track machine using deadstock Metal Maxima cassettes sourced from an unnamed charity shop close to Bramall Lane. This machine kills flashiness. There is no room for garnish. Choice is minimised to serve the song, intimacy is maximised to serve the ache.

Studio Electrophonique is a semi-fictional collective of analogue romantics sent to reassure us that art is not some far off place, that sadness can be enjoyed like happiness and that glamour can descend like a minor key melody on the shoulders of anyone willing to pay their subs and the price of a day-return to Ballifield shops.


Studio Electrophonique's latest 5- song record is a plaintive symphony of love and hope, yearning and hopelessness.

Jlin's new EP "Embryo" marks a key point in the multi-platform artistic growth of the Indiana-based producer. It features a bold and fiery sound palette recalling the futurism of nineties Detroit techno and British IDM without succumbing to their clichés. With faint echoes of classic Model 500, it sounds like music for automated cars, robot cop junctions and virtual freeways in the air. A fifth wave techno? "Connect The Dots" is one of the standouts from her recent lives sets, with the kind of rhythmic complexity only Jlin can bring, underpinned by a glitch reborn and transmuted into something utterly of the here and now. Jlin comments "I wrote all these pieces in between commissions and trying to stay afloat mentally." She singles out final track "Rabbit Hole" as a highlight "It made me feel nostalgia yet connected me to my own evolution." Jlin is currently working on a new full length album for Planet Mu.

"Rush to Riot" is the 3rd EP to be released in mid of July 2021 on the Berlin Techno Label INHERIT. After dropping the first Inherit selection IHT S01 back in May 2021 with tracks by Bacch, Geerson, CLTX and many others we are more than happy to announce that this remarkable journey continues - not only with two more original tracks by the co-founders of Inherit, Daniel Heinrich & Disguised, but rather with two exceptional remixed bangers by Hadone & Hioll on IHT 003.

"Rush to Riot" is definitely one of the most ambitious & remarkable tracks ever published on INHERIT so far. The noteworthy collaboration between the co-founders Disguised & Daniel Heinrich brings together what belongs together: trancey basslines and melodic vibrant tunes captivating you on every dancefloor around the world.

Hadone is one of the most exciting Techno artists from France these days and without any doubt his remix of Rush to Riot adds an unique & outstanding layer to IHT 003. His well-known evocative melodies propped up on pounding kicks unite with a more forward-driven interpretation of the original track that brings so much energy to the EP.

"Against the Current" is the 2nd original track on IHT 003 by cofounder Daniel Heinrich with a remix by Hioll, one of the rising stars within the Cuban electronic music scene. While the original track with the progressive baseline by Daniel Heinrich sounds like a famous club banger already Hioll created with his remix a new and distinctive sound, hypnotic techno supported by industrial elements lifting the original track to a new level.

IHT 003 leaves us with the feeling how hard we crave for the clubs to reopen again soon. Until then enjoy your catchy four track compilation by Daniel Heinrich, Disguised, Hadone & Hioll.

Color Vinyl
Brian Borcherdt (aka Dusted) is the founding member of Holy Fuck as well as LIDS which includes members of Metz and Constantines, and has a single due out this year on Sub Pop. 

The new album is the follow up to the acclaimed 2018 release BlackOut Summer and will provide a welcome musical shot in the arm for fans who have anxiously waited three years for new music from Dusted.
‘The album's process began with Borcherdt finding a long forgotten favourite song, coming back to him in a dream. ‘’That same morning, I found a demo of it, along with countless others, on an old laptop,’’ said Borcherdt. ‘’It was a joyful moment, hearing long lost songs as if I was never part of them. I was a third-party listener thus allowing them to be innocent and unjudged. I added a handful of the favourites to a current set list, which became the inspiration to go into the studio, to lay everything down, live off the floor, simply to preserve them, to keep them from being forgotten again.'
Dusted’s 2012 album ‘’Total Dust’’ was selected for the Polaris Prize Long List in 2013. The support from filmmaker Jean-Marc Vallee earned Dusted two songs in his most recent film Demolition and a cameo role in Wild. With Holy Fuck, Borcherdt has been making music for 15 years and has released 5 albums. Holy Fuck has seen their music played on major TV shows like Breaking Bad and Mr Robot as well as ranking over 200K monthly listeners on Spotify and accumulating over 5 million career streams to date. Borcherdt has been releasing solo music since 2002. Previously to Holy Fuck, he was part of By Divine Right whose past band members count Feist and Broken Social Scene’s Brendan Canning. 

‘’Borcherdt has found a worthy foil who can help him steer clear of sad-bastard solipsism, introducing luminous textures that lend these recordings a greater sense of space and levity.’’ - Stuart Berman, Pitchfork

Black Vinyl
Brian Borcherdt (aka Dusted) is the founding member of Holy Fuck as well as LIDS which includes members of Metz and Constantines, and has a single due out this year on Sub Pop. 

The new album is the follow up to the acclaimed 2018 release BlackOut Summer and will provide a welcome musical shot in the arm for fans who have anxiously waited three years for new music from Dusted.
‘The album's process began with Borcherdt finding a long forgotten favourite song, coming back to him in a dream. ‘’That same morning, I found a demo of it, along with countless others, on an old laptop,’’ said Borcherdt. ‘’It was a joyful moment, hearing long lost songs as if I was never part of them. I was a third-party listener thus allowing them to be innocent and unjudged. I added a handful of the favourites to a current set list, which became the inspiration to go into the studio, to lay everything down, live off the floor, simply to preserve them, to keep them from being forgotten again.'
Dusted’s 2012 album ‘’Total Dust’’ was selected for the Polaris Prize Long List in 2013. The support from filmmaker Jean-Marc Vallee earned Dusted two songs in his most recent film Demolition and a cameo role in Wild. With Holy Fuck, Borcherdt has been making music for 15 years and has released 5 albums. Holy Fuck has seen their music played on major TV shows like Breaking Bad and Mr Robot as well as ranking over 200K monthly listeners on Spotify and accumulating over 5 million career streams to date. Borcherdt has been releasing solo music since 2002. Previously to Holy Fuck, he was part of By Divine Right whose past band members count Feist and Broken Social Scene’s Brendan Canning. 

‘’Borcherdt has found a worthy foil who can help him steer clear of sad-bastard solipsism, introducing luminous textures that lend these recordings a greater sense of space and levity.’’ - Stuart Berman, Pitchfork

"Two Duos" is pressed from cellist Okkyung Lee's most recent OTO Residency; the first side a duo with Jérôme Noetinger on Revox B77 and the second with Nadia Ratsimandresy on Ondes Martenot. Cut together, the two meetings seem to raise three cellos in the search for expressive voice: the cello, its magnetic reproduction, and the dual controls of the machine invented to expand on its musical qualities. On the A side Noetinger's opening tape hiss establishes a current; an electrical partner who gives Lee room to slide across and stretch out. Progressively the cello is returned, duplicated and manipulated with increased velocity and distortion. Noetinger draws out the full extent of Lee's extended technique; rewinding strands of Lee's horse hair and transmuting her percussive attacks into shuddering echos, before letting his own concrete interjections spin the duo's sonic tussle into an almost romantic daydream. On side B the ondes (invented by French cellist and wartime radio operator Maurice Eugene Louis Martenot and so loved by Bernard Parmegiani, Varese and Messiaen) seems shaken from classical tradition and those long, drawn out horrorscapes it has come to be associated with. In a duel with Lee, Ratsimandresy grasps the ondes' extraordinary capacity for dexterity, nuance and speed, hounding Lee's cello in a bid to drive her instrument out of the past and into the future. Two fantastic pairings and a testament to the freshness with which Lee and her collaborators continue to work with their instruments. Okkyung Lee / cello. Jérôme Noetinger / Revox B77. Nadia Ratsimandresy / ondes Martenot. Recorded live at Cafe OTO on. Mixed and mastered by Lasse Marhaug. Design by Maja Larrson.

Love Tractor's forward-sounding 1988"s "Themes From Venus" will be
treated to a remastered edition on March 18, 2022, by Propeller Sound
Recordings.

Housed in fully redesigned gatefold artwork, the band's fourth release is given a chance to spread the Art Rock pioneers' music out of this world. Considered a founder of the Athens, Georgia alternative music scene'along with The B-52"s, Pylon, and REM. After its original release, Love Tractor embarked on a healthy touring regime to promote the record, including a 60-date stint with The B-52s on
their Cosmic Thing tour. Though the band went on hiatus in the early 1990s, they would return again in 2001 and are currently working on new music.Packaging: CD Remastered & Expanded with 6 Bonus Tracks and Full-Color insert.

High Focus ​Records linchpin ​Fliptrix announces his 8th solo album ​‘Light Work’. The 16-track project is a complete representation of ​Fliptrix as both an artist as well as reflecting the person behind the artistry. The album tackles deep rooted issues within society, the current state of the world as well as portraying an overarching message of peace, openness and optimism.

“Light Work is the culmination of years of experience, emotion, research and love. Crafted to heal, fulfil my desire to create and further raise vibrations.”

The London born, Brighton based lyricist’ creative CV has become one of legends. His long-standing trade as a solo artist is paired with him being one-quarter of the acclaimed collective ​The Four Owls (Big Owl)​, adding in Founder and Director of ​High Focus Records and not to forget becoming a first-time dad earlier this year. Operating at this level has been achieved by years of self-development and his mission is to pay it all forward.

Both Fliptrix and High Focus Records have been irreplaceable cogs in the UK HipHop machine for well over a decade. He and the label have been there for the hard times and the glory days but have never sought out fame or verification. Albums such as ​‘The Road To The Interdimensional Piff Highway’ and ​‘Patterns Of Escapism’ ​were pioneering amongst peers and resulted in multiple global tours and a dedicated fanbase across the world.

Kicking off the album is the title track ​‘Light Work’ which starts with faded, eerie laughter whilst Fliptrix unleashes a barrage of flows ending with “DMT be elevating my consciousness​”​. An introspective cut,

‘Light Work’ expresses his undeniable passion for his craft whilst tackling personal demons and overcoming them through altered states of consciousness. ‘​Multicolour’ paints a raw psychedelic picture and encourages us to think outside the box and not take everything for face value. His vivid storytelling continues throughout with feelings of being burnt out expressed in ‘​Broken Glass​’ whilst ​‘Powerizm’ ​switches up the tempo and he conveys his daily grind whilst paying homage to his fallen friend and legendary London graffiti artist ‘POW’ as well as his recently born first child. Tracks ‘​Problem, Reaction, Solution & ​The Realisation Part 2​, tackle the world's current situation head-on with a no holds barred viewpoint. Coming full circle, ​Fliptrix closes the project with ‘​Vibes’​ which is full of positivity and hope.

No stranger to talking openly about his mind-altering experiences, spirituality, quest for knowledge and dedication to the exploration of consciousness, Fliptrix’s raw flow and intricate lyricism perfectly portray the albums hard hitting narratives and set him apart from the rest of the scene. Self-reflection, personal improvement, determination and revolution are at the core of ​‘Light Work’ and they come together harmoniously under one roof.

Rapper and producer duo ​Verbz & ​Mr Slipz announce their latest album ‘Radio Waves’ ​due out ​13th November 2020​. Released on the acclaimed Hip-Hop label ​High Focus Records​, the 22-track project sits perfectly between present-day greatness and unrivalled nostalgia welcoming us into their unique rap landscape. The cover, designed by ​Matt Littler​, captures the essence of the album perfectly.

Born and raised in Croydon, rapper ​Verbz has proven himself time after time with his innovative rhyming style and distinct flow. The creative partnership wouldn’t be complete without Brighton based producer Mr Slipz who marries ​Verbz’ form with his laid back jazzy sound as well as unmistakable attention to detail. The pair started making music together in 2017 when they released their debut collaboration ‘Lessons Of Adolescence’. This was followed by extensive tours and studio sessions where their musical alliance was cemented and their bond has been untouchable ever since.

Kicking off the album with humour and personality, '​2202 FM​’ is a full-bodied track which sees ​Verbz spit tales of admiration for his city whilst at the same time striving to escape. With London on the brain,

‘Summer In The Bits’ ​is an introspective analysis of a summer's day in the capital full of tense trials and tribulations. Moving throughout the album, ​‘Kno The Status’ welcomes three potent guest verses from Alex Holy​, ​Datkid & ​Upfront ​paired with an unrivaled ​arrangement and instrumentation magnifying Mr Slipz’ craft. Once again his incomparable production delivers on ​‘Weekend Blues’ ​which see’s ​Verbz regretfully address craving more from his weekend to then be greeted by numbness on a Monday morning. ​High Focus linchpin Fliptrix delivers some captivating combinations on ​‘My Wonders’ ​honing n on the current state of the world from his point of view. Up next is one of the lead singles

‘The Feeling’, which is a refreshing and rare representation of the classic Boom Bap sound. Before signing out, ​Verbz’ ​impressive storytelling shines through on ​‘In My Mind’ offering insight into his artistry as he allows access to his inner thoughts via vivid storytelling lyrics. Sandwiched amongst the project are evocative radio skits placed to perfection, offering angles of comedy including a mini-interview acting as the final pieces to the puzzle.

This record is the culmination of two years of hard work packed with skill and finesse, as we have all come to expect. With their unrivalled chemistry, the dynamic duo have proven themselves to be some the most exciting artists on the scene, and '​Radio Waves' is going to cement their position at the top of the ranks.

ACHTUNG !! Another weighty missive from the desk of Herr Campbell, otherwise known as Consulate - Perth’s preeminent breakbeat bureaucrat, currently stationed in Melbourne, Australia.

Smelling like leather and tasting like metal, the “Assassino” EP features four full-excursion incantations for all the midwinter ravers -- solstice steppers enhanced with dubwise technique and enchanted with ancient foreboding…

Careful what you conjure when the needle hits this platter.

Back in stock! Ghanaian Afro-Rock From Producer/Composer JJ Whitefield, Inspired By His Karl Hector & The Malcouns And Whitefield Brothers Projects JJ Whitefield, who in the early ‘90s revived the gritty, analogue Funk sounds of the ‘60s and ‘70s with his Poets Of Rhythm, has been working with Now-Again Records for over decade, releasing a flock of acclaimed projects with Karl Hector & The Malcouns, Whitefield Brothers, Rodinia and the Original Raw Soul anthology. He first started exploring African rhythms with the Whitefield Brothers in the late ‘90s, continuing in the ‘00s with Karl Hector & The Malcouns. He’s been instrumental in launching Ghanaian Afro Beat/Funk legend Ebo Taylor´s international career, decades after the maestro recorded the landmark albums that have inspired thousands. Whitefield recorded two new studio albums with Taylor and toured in his band between 2009 and 2013, where he met Taylor’s son Henry and percussionist/Singer Eric Owusu. The trio now front the Johnny! band and find inspiration not only in Ghana’s hypnotic grooves, but also the full frontal fuzz guitar assault heard on the legion of 70s Zambian Zamrock albums reissued by Now-Again. Indeed, Whitefield credits his tours with Zamrock godfathers Rikki Ililonga and WITCH’s Jagari Chanda as instrumental in creating the Johnny’s sonic backdrop. The band is rounded out by Turkish drummer Bernd Oezsevim (Woima Collective, Rodinia) and Indonesian bassist/multi instrumentalist Tomi Simatupang (Whitefield Brothers). This is what was oft-called “Afro Rock” at the core, with the possibilities to stretch out into swinging highlife, sweet soul or psychedelia . The results, point at a new direction for the music inspired by the Great Continent. One that takes a direction once mocked as derivative and asserts its importance on the globe’s current musical stage.

Etran de L'Aïr (or "stars of the Aïr region") welcomes you to Agadez, the capital city of Saharan rock. Playing for over 25 years, Etran has emerged as stars of the local wedding circuit. Beloved for their dynamic repertoire of hypnotic solos and sun schlazed melodies, Etran stakes out a place for Agadez guitar music. Playing a sound that invokes the desert metropolis, Agadez celebrates the sounds of all the dynamism of a hometown wedding. Etran is a family band composed of brothers and cousins, all born and raised in the small neighborhood of Abalane, just in the shadow of the grand mosque. Sons of nomadic families that settled here in the 1970s fleeing the droughts, they all grew up in Agadez. The band was formed in 1995 when current band leader Moussa "Abindi" Ibra was only 9 years old. "We only had one acoustic guitar," he explains, "and for percussion, we hit a calabash with a sandal." Over the decades, the band painstakingly pieced together gear to form their band and built an audience by playing everywhere, for everyone. "It was difficult. We would walk to gigs by foot, lugging all our equipment, carrying a small PA and guitars on our backs, 25 kilometers into the bush, to play for free_ there's nowhere in Agadez we haven't played." Whereas other Tuareg guitarists look to Western rock, Etran de L'Aïr play in a pan-African style that is emblematic of their hometown, citing a myriad of cultural influences, from Northern Malian blues, Hausa bar bands, to Congolese Soukous. It's perhaps this quality that makes them so beloved in Agadez. "We play for the Tuareg, the Toubou, the Zarma, the Hausa," Abindi explains. "When you invite us, we come and play." Their music is rooted in celebration, and invokes the exuberance of an Agadez wedding, with an overwhelming abundance of guitars, as simultaneous solos playfully pass over one another with a restrained precision, forceful yet never overindulgent.

Heiko Voss has earned near mythical status as a torchbearer for the emotional, deeply felt and quietly radical style of electronic music. The blissed-out radiance of his Kompakt Pop single, “I Think About You” remains one of the label catalog highlights and a stellar run of collaborative singles as Schaeben & Voss; others might know him for his stewardship of the excellent, much-underrated Firm imprint. But with his new album, 3:30 Minutes To Live, released by Michael Mayer’s label Imara, Voss returns after a long silence with a beautiful collection of songs that hymn heartbreak with a lusciously melodic touch.

There is something definitive and newly confident in 3:30 Minutes To Live that has it feeling like a real statement of intent if compared to his earlier releases. “Although it’s not, 3:30 Minutes To Live feels like my debut album,” Voss reflects. “All releases before were more song sketches or electronic dance tracks.” Bunkering down in Teary Eyes Studio, Voss worked up somewhere between thirty and forty sketches of songs, which he whittled down to the twelve collected here, all of them situated in a unique space, but very much in accord with Voss’s defining aesthetic, which he describes as “indie pop music with a lot of guitar, electronic elements and a great love for melancholic ‘80s synth-lines.”

Voss is sensitive to both variety and consistency – 3:30 Minutes To Live sits together as an assured, vibrant collection of pop songs, but it’s marked by all kinds of surprising incident, like the guitar solo that erupts out of “This Is My Life”, or the acoustic guitar-led melancholy of the closing “This Summer”. It’s all borne of the alchemy of the studio process and the intimate romance of music-making. “If you constantly feel a little bit like you’re in love while writing and producing your music – simply because of the sound of the synth flowing warmly and gently through the room, or because the sequence of notes awakens something in you, or even a randomly arising groove in the loop of a guitar lick makes you shout, ‘Ha!!’ – then it usually becomes a beautiful song,” Voss nods. “Those moments make me happy.”

There’s also a delicious tension between the push of the music, its melodic lushness and gliding, ballerina-like movement, and the darker currents that pull through Voss’s lyrics, inspired by a “short, dramatic and toxic love affair.” This may read like familiar terrain for a pop album, but the way Voss weaves language through both the extra-linguistic joys of music and the inarticulate speech of the heart somehow allows for direct communication that is simultaneously plain-spoken and deeply profound. “Say It” is a simple, devastatingly effective plaint of alienation; “She Wasn’t Lonely” a simple portrait of everyday living set to chiming, clacking guitars, the music in the bridge taking astral flight as the titular character ‘lets herself go.’

A smart and sharp collection of songs that captures you with its gorgeous melodicism just as it blindsides you with its aching heart, 3:30 Minutes To Live is Heiko Voss at his most assured and open-hearted best.

Heiko Voss hat sich als Fackelträger einer emotionalen, von ganzem Herzen kommenden und nicht auf den ersten Blick radikalen Spielart von elektronischer Musik einen nahezu mythischen Status erarbeitet. Das schiere Glück, welches seine Kompakt Pop-Single "I Think About You" aus dem Jahr 2003 immer noch ausstrahlt, macht sie nach wie vor zu einem der Highlights des Label-Katalogs, wo sie neben einer ganzen Reihe hervorragender Singles als Schaeben & Voss steht; andere kennen Heiko vielleicht durch das tolle und vielfach unterschätzte Label Firm, für das er zusammen mit Thomas Schaeben verantwortlich war. Mit seinem neuen Album “3:30 Minutes To Live”, das am 4. März 2022 auf Michael Mayers Label Imara erscheint, kehrt Voss nun nach einer langen Pause mit einer wunderschönen Sammlung von Songs zurück, die den Herzschmerz – getragen auf den Schwingen unwiderstehlicher Melodien – ausgiebig besingen.

“3:30 Minutes To Live” kommt mit einer gehörigen Portion Überzeugung und Selbstbewusstsein daher, was im Vergleich zu seinen früheren Veröffentlichungen wie ein bewusstes Statement wirkt. "Obwohl es das nicht ist, fühlt sich ‘3:30 Minutes To Live’ wie mein Debütalbum an", meint Voss. "Alle meine vorherigen Veröffentlichungen waren eher Song-Skizzen oder elektronische Dance-Tracks."

Im Teary Eyes Studio arbeitete Voss zwischen dreißig und vierzig Songskizzen aus, die er auf die zwölf hier versammelten Songs reduzierte, die alle ihren eigenen Raum einnehmen, dabei aber sehr gut mit Voss' übergeordneter Ästhetik harmonieren, die er als "Indie-Pop-Musik mit viel Gitarre, elektronischen Elementen und einer großen Liebe für melancholische 80er-Jahre-Synthies" beschreibt.

Voss ist sowohl für Abwechslung als auch für Konsistenz empfänglich - “3:30 Minutes To Live“ ist eine selbstsichere, lebendige Sammlung von Popsongs, die aber auch von allerlei Überraschungen geprägt ist, wie dem Gitarrensolo, das aus “This Is My Life” herausbricht, oder die von einer Akustikgitarre getragene Melancholie des abschließenden “This Summer”.

Das alles ist entstanden aus der besonderen Alchemie des Studioprozesses und der intimen Romantik des Musikmachens. "Wenn du beim Schreiben und Produzieren deiner Musik ständig das Gefühl hast, ein bisschen verliebt zu sein – einfach weil der Klang des Synthesizers warm und sanft durch den Raum fließt, oder weil die Notenfolge etwas in dir weckt, oder sogar ein zufällig auftauchender Groove im Loop eines Gitarren-Licks dich ein 'Ha!' ausrufen lässt – dann wird daraus meist ein schöner Song", nickt Voss. "Diese Momente machen mich glücklich."

Es entsteht eine besondere Spannung zwischen dem positiven Elan der Musik, ihrer melodischen Verschwendungssucht, den gleitenden, Ballerina-artigen Bewegungen und den dunkleren Strömungen, die durch Voss' Texte ziehen, die von einer "kurzen, dramatischen und giftigen Liebesaffäre" inspiriert sind. Das mag sich wie ein vertrautes Terrain für ein Pop-Album anhören, aber die Art und Weise, wie Voss die Sprache sowohl durch die nonverbalen Elemente der Musik als auch durch den nicht artikulierten Ausdruck des Herzens verwebt, ermöglicht eine Art direkte Kommunikation, die gleichzeitig ausgesprochen klar und trotzdem tiefgründig ist. “Say It" ist eine erschütternd einprägsame Anklage von Entfremdung; "She Wasn't Lonely" ist ein einfaches Porträt des alltäglichen Lebens, untermalt von klappernden Gitarren, in dem die Musik einen astralen Flug unternimmt, während die Titelfigur sich "gehen lässt".

“3:30 Minutes To Live“ ist eine kluge und scharfsinnige Sammlung von Songs, die den Zuhörenden mit ihren wunderschönen Melodien fesseln, aber auch mit einer Menge schmerzenden Gefühlen konfrontiert. Ein Album, auf dem Heiko Voss ganz bei sich ist und Euch dabei mehr als nur sein Herz öffnet.

Lorca joins the Shall Not Fade family with a debut LP consisting of 8 melodic tracks with richly-layered soundscapes made up of samples and field recordings taken from his hometown, Brighton.

His first full-length album as Lorca, the Saudade LP sees Sam Cassman return to a melancholic and experimental sound for which he originally made a name for himself since his first release in 2012. The album's title, written in Portuguese - the language native to his current residence, Madeira - translates to English as "a feeling of longing, melancholy, or nostalgia". With stripped-back percussion and plaintive
atmospherics, it's clear to see why. We are soothed into things with the soft melody of "Lullabies" before being transported to Brighton Beach via field recordings of seagulls and the whisper of pebbles on the second track. The driving pulse of deep house track "Are You Gonna Love Me" picks up the pace whilst maintaining a sense of minimalism before the shimmering lull of "Two Pianos" brings things right back with
formless sonic collages and drifting atmospherics.

Flip the record over and the rolling beats are back. "Colraine" and "uTube" see the return of clever use of sampling, the latter including mobile phone recordings of live piano playing by friends, sampled from social media. "Colraine" offers up pulsating jazz rhythms, oozing with groove, before the aptly-named "Polly" ushers in a change of course with a razor-sharp polyrhythmic melody and acid undertones which are more suited to the club. On "Rock Paper", it's sound design that takes centre stage. To close the LP, Lorca manipulates field recordings taken from inside his studio to incorporate abstract, sample-based percussion, making for a truly unique take on techno and synthesis.

Andrew Tasselmyer is a musician from Baltimore, MD currently living in Philadelphia, PA. He utilizes samplers, field recordings, and lo-fi recording techniques to make textured and tactile sounds.

In addition to his solo catalog on labels such as Seil Records, Eilean Recs, Constellation Tatsu, Home Normal, and more, he is a member of Hotel Neon, Gray Acres, and Mordançage

On their Dualtone Records debut 'Sticking With It', Seattle-based sevenpiece The Dip deliver the kind of unbridled soul/R&B that hits on every
emotional level, inciting everything from raw catharsis to heavy-hearted
reckoning to wildly exuberant joy
In a major breakthrough for the band, the self-produced album fully channels the
vitality of the freewheeling live show that's earned them an ardent following over
the last decade, expertly matching their sophisticated musicianship with a
fantastically loose energy. When met with The Dip's lyrical reflection on matters
both timely (the crush of late capitalism, the glaring need for true community)
and undeniably timeless (the vast complexities of love and loss), the resulting
body of work captures the mood of the current moment while offering immediate
escape into a more elevated state of mind.

From the meeting of the legendary Tsugaru Jamisen Maestro Chisato Yamada with volcanic mind of the composer Tasheshi Terauchi and his Oriental Fantastic Orchestra, a collaboration and a unique record, a conceptual work, is born in which innovative songs transcend the boundaries of traditional music by mixing modernity, rural and electronic atmospheres, local arias and contemporary music.
A record with strongly evocative and cinematic sounds.

Comes with OBI and a two-panel fold out sheet with original liner notes of the time translated in English that explains in an exhaustive way the inspirations from tradition and popular music and the very accurate digital recording techniques of the time that make it a record sought after by audiophiles looking for sounds unedited in the Western tradition.

Happy Floating is the debut LP of Italian composer, producer and reed player Damian Dalla Torre. Over the course of two years, the Leipzig-based artist recorded 19 musicians in all kinds of places to bring to life his unique blend of Avant Folk and Electronic. With reeds, brass, guitars, bass, drums, mallets, synthesizers, organ and electronics, the album feels like a mindful walk through a flowering meadow, tickling and caressing all at once.
Born in Northern Italy to a family of non-musicians, his knack for woodwind instruments was uncovered by the sight of a big shiny baritone saxophone in a red velvet case that belonged to his grandma’s neighbour. It was and still is an odd instrument for anyone to play in the Val di Vizze, which may have added to young Damian’s excitement. He opted for the slightly smaller tenor saxophone, took up lessons and eventually studied music in Vienna and Leipzig, where he’s currently living and working within a spirited network of musicians, of which many are featured on this record.

John Carroll Kirby brings his talents as a composer
and producer to film scoring. His vivid imagination,
dreamy compositions and knack for storytelling with
instrumental music make for a perfect match with
comic book writer, artist and filmmaker Dash Shaw’s
vibrant, fantastical animated feature.
 Kirby’s score is at once deeply evocative and
mysterious, evoking nostalgia, wide-eyed innocence,
and ethereal otherworldliness. As with all of Kirby’s
music, the score resists easy genre classification,
melding together sounds from new age, exotica, library
music and the sweeter side of electronic music.
 ‘Cryptozoo: Original Motion Picture Soundtrack’
features the voice of Kacy Hill.
 Artwork by the film’s director, Dash Shaw.
 ‘Cryptozoo’ won the NEXT Innovator Award at
Sundance, premiered internationally at the 2021
Berlinale, and was bought by Magnolia Pictures.
 The film is currently streaming on MUBI UK and
Ireland as a MUBI Release and will be on the platform
for several months.
 ‘Cryptozoo: Original Motion Picture Soundtrack’ is
Kirby’s latest album following the release of his
electronic-jazz album ‘Septet’ in June 2021. He will be
touring the UK and Europe in March 2022.
 For fans of Bibio, Tangerine Dream, Susumu Yokota,
Laraaji, Joanna Brouk.
 Support from AV Club, New York Times, The Guardian,
Cinemacy, Collider, The Wire, BBC 6 Music, triple j
and KCRW, among others.

A sequel to the 2001 series Blue Planet, it took 4 years to complete this seven part new exploration of the underwater worlds, with 125 expeditions across 39 countries and 6000 hours of underwater filming. The series was broadcast on BBC One on 29 October 2017 with viewing figures exceeding 10m and its exposure of plastic pollution in our oceans has started a global conversation about reducing plastic waste.

With over 120 soundtracks to his credit which have grossed 24 billion dollars at the box office, Hans Zimmer has been honoured with many accolades: an Academy Award, two Golden Globes, three Grammys, an American Music Award, a Tony Award and The Henry Mancini Award for Lifetime Achievement. His Academy Award nomination for Interstellar marked his 10th Oscar nomination.

The composition is completed by Jacob Shea and David Fleming from Emmy and BAFTA nominated Bleeding Fingers Music. Bleeding Fingers has created original music for productions including the Fox’s The Simpsons, BBC’s Planet Earth II, National Geographic’s Princess Diana In Her Own Words, NBC’s hit Little Big Shots, Sony’s Snatch (TV), Amazon’s American Playboy, AMC’s The Making Of The Mob, Netflix original Roman Empire and History Channel’s Mountain Men.

VALKYRJA'S FOURTH STUDIO ALBUM OF MAJESTIC SWEDISH
DARKNESS PRESENTED ON THE VINYL FORMAT FOR THE FIRST TIME,
IN GATEFOLD SLEEVE
Valkyrja, one of the prominent acts among the current Swedish black metal
scene, was originally founded in 2004, "with the common collective goal of
channelling violence, deprivation & loathing through means of extraordinarily
potent audio emissions"; a parallel & extension of their own philosophies -
boundless & without limitation in their art.
'Throne Ablaze' was the band's fourth studio album, originally released in 2018 &
was a spectacular assault of finely honed Scandinavian black metal, steeped in
ritualistic darkness & seething grimness. Upon release, the album was considered
a highpoint for the band among an already highly revered repertoire, capturing the
attention of the metal world with eight tracks of pure majestic malevolence,
showing once more why Valkyrja is considered a prime force in today's black
metal climate.
'Throne Ablaze' was again recorded at Necromorbus Studio (Watain, Mayhem),
with Tore Sjerna at the helm handling production duties.
This edition of 'Throne Ablaze' is presented on vinyl for the first time, including
gatefold sleeve..

Boot Records proudly presents the Jazz T remix of Roughneck Jihad & Senz Beats' track "Catastrophe", from their 2021 EP (also on Boot Records) "The Little Assassination Handbook". The B-side offers up an exclusive cut from Lex Boogie From The Bronx & Senz Beats entitled "War of the Worlds", featuring scratches by DJ Jazz T.

DJ Jazz-T, owner of Boot Records, was the 1999 UK ITF Advancement champion. He has laced cuts on hundreds of tracks since 1995 and produces under the name of Jazz T and Boot Productions, which is Jazz & genius Dr Zygote. He was Tim Dog's tour DJ before he passed away, and he currently DJs for Gawd Status, Jehst, Micall Parknsun, Ramson Badbonez, Leaf Dog & BVA, Joker Starr and Diversion Tactics.
Jihad the Roughneck MC started rhyming in the late 80's and was a member of one group before Third Sight (with Dufunk & D-Styles). He is originally from the city of Santa Clara in Northern California, relocating to the Los Angeles area in 2004. He has played shows in California, Nevada, Oregon and toured Japan twice with Third Sight.

Lex Boogie From The Bronx grew up as a kid around the jams in the parks. He carries The Bronx with him wherever he goes. His different chambers of production and raps have seen him work with the likes of Stahhr, Marq Spekt, Boog Brown, Vordul Mega, billy woods, Mike Flo & more.
Originally from Brussels, now based in Montreal, Senz' first approach to cutting records up was on a pair of Technics 1200s, which he and his best friend claimed mutual custody over (1 month each) in 1998. After over 15 years spent producing on MPC ("War of the Worlds" was produced on a 2000xl), 2020 saw Senz switch to Koala Sampler app, by Elf Audio. His crazy beats have grabbed the attention of legends such as Dibia$e & Grap Luva.

His last LP has barely touched record store shelves and Ivan ave is back with a EP for Mutual Intentions. Mid Season finds Ivan Ave in bloom as he evokes the sounds of
spring on his latest offering. The EP title also refers to a mid-album-recording process, which Ave currently finds himself in. Mid Season gives the listener insight into a
forthcoming full length album, entitled All Season Gear.
The prolific Norwegian rapper continues to charm with a seductive baritone that blows like a cool breeze through the production’s warm accompaniment. Dusty drum
machines under glacial keys and guitars offer a platform from which Ivan waxes lyrical about everything that touches him. He has crafted a unique voice in Hip Hop echelons, finding quirky analogies in the mundane. While in the past, he could find a parable for love in a bicycle lock or existential questions in an worn out sock, he turns his
attention increasingly to social realities.
He regularly takes aim at the ridiculous aspects of our contemporary society throughout Mid Season, with lyrics that poke fun as much they ask what the fuck?
“Spotify owner 'bout to buy a whole ball team… That mean I own a corner flag or some seats at least?,” he sings on «What a Day!!!». The record is peppered with these
types of anecdotal metaphors that come together like a social media story through a bionic AI. Ivan Ave is the product of this generation and it’s only right he should reflect
that. He does it in a unique way that requires the listener to untangle these preternatural allegories.
Playing with a dichotomy of words, he doesn’t labour on a thought before he’s lazily propelled onto the next at the turn of each bar. His laissez faire approach is only
emboldened by the slow moving percussion and keys that have come to define his sound. Picking up on early nineties influences from the likes of Native Tongues or Dilla,
the music on Mid Season continues to reassess and revolutionise these archetypes. It’s in the keyboard sounds of this latest EP, that Ivan Ave and producers have found
yet another new evolution in his sound.
Synthesisers that sound like they belong to a Maynard Ferguson record rather than a Hip Hop EP make the record come alive over a chugging and forceful rhythm section. It provides an airy and playful contrast to the more serious elements on the track, and much like Ivan Ave’s lyrical prowess offers an extra layer of depth that often
eludes Hip Hop’s most successful stars. The more you listen to Ivan Ave the more you get entrenched in his work and Mid Season continues to send the artist on an
exciting trajectory.

The new album by B.Visible is a distinctive studio work, which captures the state of mind of searching for something, without actually knowing what. The only thing you can make sense of is that you aren't currently satisfied, and you want a change in your life, even though you aren't exactly sure of where you belong. This music is a quest, a search for a greater range of self-expression. B.Visible captured this very thought-provoking concept by focusing on what really matters, musically, and conceptually alike. He stayed true to his feelings, regardless of judge-ment or other people's thoughts and opinions. In the end, it's all about fulfilling creativity and exploring feelings without boundaries.

"In Between Places", demonstrates his remarkable talent for extending varied elements across the whole spectrum, allowing a wide range of influences to inspire, entertain and captivate the audience in a very spe-cial way. What makes "In Between Places" stand out is the fact that it shows the artist's chops, without seeming to try to hard to do so. It's or-ganic and dynamic; technically accomplished, but also incredibly spon-taneous and one-of-a-kind in its execution. The instrumental is perfectly balanced, allowing B.Visible's expertly interwoven patterns of melody and rhythm to soar through the mix and come alive with raw and thrilling performance.

Ultimately, "In Between Places" is a truly special album, which is rich in terms of sound design and textures, tipping the hat off to artists such as Four Tet, Flying Lotus or Apparat, only to mention a few. This record is a musical journey with a unique twist.


Viennese producer B.Visible is always pushing his craft forward with each concept being an evolution. His music is mutating organically as each project brings novelty but always while blending sharp electronic components with dusty acoustic layers. That duality exists in every aspect of his creative journey with DJ sets revolving around second-hand records and modern-day productions but also his live project offering a whole new dimension and generosity to the audience. B.Visible melts the barrier between analog and digital in a such distinctive and elegant way that it feels natural.

Hangman's Chair, formed in 2005 in Paris, are one of the most unique sounding doom rock bands currently active. Through the years, they have found and fine-tuned their own sonic brand, somewhere at the crossroads between Type O Negative, Alice In Chains and Sisters of Mercy, to name a few, mixed with a certain street credibility connected to the group’s roots in hardcore, and even tinges of shoegaze. ‘Cold Doom’ as the band likes to call it.

Each album takes its strength and essence from the band members’s life experiences, which they portrait with unflinching honesty. Whether it is the loss of band members, drug overdoses or the hardships of living in suburban Paris, all those human emotions resonate within each of their songs as they embrace the darkness and transform it into something beautiful, heavy and melancholic.

After five studio albums and a handful of splits / EPs, Hangman's Chair is releasing their sixth studio album, "A Loner", their first record on Germany based, worldwide leading metal label Nuclear Blast. Telling tales about loneliness in all its forms, this record has all the trademarks that makes Hangman's Chair’s music so visceral, and will keep you in its tight grip from the very first listen.

Composer, producer, multi-instrumentalist and co-founder of Black
Rebel Motorcycle Club, Robert Levon Been, announces his forthcoming
album, ‘Original Songs From The Card Counter’.

Levon Been composed several original songs as well as a majority of the
score for writer and director Paul Schrader’s new film, ‘The Card
Counter’, starring Oscar Isaac, Tiffany Haddish, Tye Sheridan, Willem
Dafoe and executive produced by Martin Scorsese.

“Ironically this entire project began by working the last scene of the film
first,” says Levon Been. “Paul had reached out asking if I would write an
original song for a very intimate final scene he had been struggling with.
As tempting as the concept was, I must admit that kind of composing is
also my biggest fear - to write directly to picture with such precision that
it takes over the narrative in a substantial way, which I knew Paul never
shies away from. It also turned me into a nervous wreck because I know
just how easy it is to quickly ruin a movie with merely a single lyric at the
wrong time. Thankfully for ‘Mercy Of Man’, I had S.G. Goodman there in
NY singing with me to help experiment with how to create a fairly
unconventional duet of sorts that is intended to evoke the emotions of
the two characters in that final scene.”

‘The Card Counter’ marks the fifth collaboration between Schrader and
Scorsese, who previously worked together on ‘Taxi Driver’, ‘Raging Bull’,
‘The Last Temptation of Christ’ and ‘Bringing Out the Dead’.

Robert Levon Been is a producer, composer, singer songwriter and
founding member of the band, Black Rebel Motorcycle Club, with whom
he has released eight albums and toured the world with since 2001. With
a dedicated following across Europe, the US, Australia and Asia, their
record ‘Howl’ has ranked many top album lists.

In 2013, Black Rebel Motorcycle Club were featured in Dave Grohl’s
Grammy-winning documentary, ‘Sound City’. 2021 marks the 20th
anniversary of the release of Black Rebel Motorcycle Club’s self-titled
first album.

Robert is currently producing and writing for multiple projects, dividing
his time between Los Angeles and Vienna.

Gatefold LP, with initial copies featuring spot gloss on sleeve. (Once this
format has sold out, a standard gatefold sleeve edition - EPZTC001LPR
- will be made available.)

Following the release of their latest single ‘Animal’ Brighton 4-piece Will & The People have announced details of their new album and subsequent tour this November/ December; following recent sold out shows in London and Brighton, as well as festival plays at the likes of Boardmasters and Green Man, where they headlined the Chai Wallahs stage on closing day.

Recorded at The Libertines’ The Albion Rooms over the course of a week, the band say of the album:
‘It represents a journey of the soul; from the darkness and depression of a lost and seemingly hopeless position - to a realisation and acknowledgment of needing to change, needing to empower oneself and then finally to a more joyous, un-shakeable happiness towards all aspects of life. Life is beautiful and can be lived with joy and grace. Through staying true to your passions and beliefs and finding, new chapters, happiness is there. The album, “Past the point of no return”, is the meeting of the past and present on our journey into the future. It's a four-way diary entry for life as we currently know it.’

You can tell from the way they play, talk and live that Will and The People aren’t following a formula or trying to follow the pack. They play music because it makes them feel good, feel free and feel whole.

With the new SERWED III on Flaty's promising ANWO RECORDS, Flaty and OL set out to explore and celebrate the altered visions of today's mundane futurism with a kind of keen aesthetic intuition that could only be enabled by the vast volume of their listening, production, and teaching experience.

Following the first two SERWED albums on Asyncro and West Mineral Ltd., the current fruits of the flourishing long-time collaboration between OL and Flaty comprise an oddly coherent kaleidoscopic set of free-wheeling journeys across varied pseudo-desolate soundscapes full of anomalies and sometimes thrills. Beyond the now seamless blending of the artists' individual styles, a whole bunch of other boundaries get blurred on the record, whether it be between the human and computer data processing algorithms, originality and referentiality, anxiety and euphoria, signal and noise.

SERWED III postmodern world is the one where the orbital space is just another littered parking lot, neural networks are appreciated mostly as a source of absurd imagery, and delivery drones are used as designer drug mules. The sonic collection is fittingly complemented by the visuals based on Regula Bochsler's The Rendering Eye, an art project capturing the "erroneous" yet "picturesque" renderings found in the 3D world of Apple Maps.

Pink Vinyl

Drifting on oceans of thunderous stillness, carried away by endless currents, whipped up by waves of darkness devouring you until you see the light. The first album from Platoo, a collaboration between Michelle Samba and Phil Mills, has an unrelenting cadence that grabs you and refuses to let go. A distinctive combination of calming soundscapes and highly-charged energy fitting any occasion, from dancing like lost souls in the empty halls of ancient barracks to ecstatically tripping on a distant desert planet.

To Phil and Michelle creating Platoo was about being given a sense of freedom and exploration, at once shaking off habits and rediscovering forgotten values. Phil's love of the mesh of ''real'' sounds and electronics, and quest to establish a balance where both would feed off each other saw him abandon convention and standard structures, deviate from the beaten path and let things come to life. Michelle's quest to create, to inspire and be inspired, to draw her conclusions from serendipitous events allowed her to break things open and be at ease with letting herself go to create the breathing space needed for this new sound.

What makes their symbiosis fruitful is a common yearning for the unknown, a search for what works without exactly fathoming why it works. The result is something that indeed meets those needs, a strange and beautiful musical exploration.

Following hot on the heels of lead single and recent mind-body tantalizer “I Feel Stronger Now,” we are now truly proud to present you with Portable’s latest full-length My Sentient Shadow. Filled to the brim with all of the inventiveness the sonic auteur has commanded we expect from his sizable and consistent body of work on worldrenown labels such as Perlon, ~scape, !K7, and his own Süd Electronic and Khoikhoi imprints, and dare we say offering us perhaps the most cohesive, emotive, and balanced of his highly-admirable catalog here to date. By using the analogy of a shadow that possesses its own consciousness, the theme of light and its distortion vs balance with the inherent and necessary darkness that surrounds it is in clear vision.
Immediately from the warmly bizarre vibes of opening cut “The Simulacrum”, it’s clear Portable is requesting clearance to other worlds of funk and ingenuity. The delightfully trippy, smoky, back-room of the Tattooine Cantina feel sets the stage just right to curb expectations and let the carefully constructed noise movements wash over us.
Elsewhere amongst the generous set we find tracks like “Cages” and “Ripple Effect” continue in the direction of horizontally-maximized aural tapestries oozing with texture, while at the other end of the energy spectrum pieces such as “The Self-Assembling” and “We Exist..” roll and bounce with all the sci-fi gyrations and slick synth layers hinting at a hypnotic halfway rendezvous point to his Bodycode moniker. And of course, no proper Portable outing would be complete without his own robust tenor vocal tone, which feels right at home front-and-center on the space travel anthem “The Spacetime Curvature” and used in more calculated micro-doses on “Analogue World”, as well as the gorgeous “Foreign to You” whose meta-title features a rare guest starring vocalist NiQ.E, and brings to hearts some of Herbert’s finer moments with dear friend Dani Siciliano, albeit done-up entirely in some distant yet alluring parallel dimension. The LP journey finishes with the frenetically-charged closer “Fractal Distortion” which will no doubt please many-a cosmic techno purist while making percussion masters from the afterlife such as Jaki Liebezeit and Tony Allen proud, and is quite possibly the closest thing to a danceable musical take on the current state of cognitive dissonance in the world that surrounds us, offering us a one-way
ticket out from the not-too-distant future. Please join us in welcoming and celebrating this wonderful album from Portable on Circus Company.