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Following the success of their first release with Serpico’s ‘Just Can’t Stop’, Moonworks are reissuing a highly sought-after UK house 12” from The Outsiders, originally from 1995.

The Outsiders’ Beyond The Ego EP is a lost London gem born from the UK capital’s rich musical heritage and the transatlantic influence of deep house. Produced by two close friends Mark Mellor and Paul Murphy within 48 hours in their Westbourne Grove home studio, its fusion of US house production techniques with a myriad of UK influences has cemented its status as a timeless and unique treasure.

The record received few plaudits on release but has since become a sought-after underground rarity, with scarce original copies trading hands for hefty prices. Whether you draw for the euphoric Warp Factor 9 Mix, the stripped back Ego Dub or the sun-kissed grooves of Do Dat Scat and Shu Bop, the record epitomizes the tasteful and quirky sound of UK house music from the 90s.

Moonworks have once again worked closely with the original artists to restore and remaster these tracks to modern standards, as well as revamping the original artwork in their own style.

DJ Support: Soul Clap, Walla P (Voyage Funktastique)

Nearly a decade after the first 'Tap Water,' XL Middleton delivers the sequel to what many consider a true classic of the modern funk genre. Weaving between singing, rapping, and the robotic refrains of vocoder, XL's vocals glide over his synth-drenched production, which manages to be simultaneously polished yet grimy. It's a perfect meeting ground for those steeped in the raw, underground approach to hip hop production and the cleaner, more organized ethos of dance music. Whether your jam is 80's boogie, 90's g-funk, or R&B-flavored dance music of any generation, 'Tap Water II' is sure to keep your glass full.

Original pioneers of rare groove, PUSH, make a welcome return with an existing and exciting album. Originally released in 2004, now 20 years later it’s still alive and kicking. “Push People” is a cross pollenation of classic underground rare groove and contemporary feel good funk n' soul in the shape of heartfelt songs and incredible instrumental pieces. PUSH emerged from the underground London club scene in 1987, where they were at the heart of a community that thrived on JB inspired Funk, Blaxploitation soundtracks and raw soul-jazz. Push toured Europe and Japan and were regulars onstage at Gilles Peterson's legendary Dingwalls’ Talking Loud & Saying Something sessions. They have worked with the likes of Style Council's Paul Weller and Mick Talbot and have long provided the soulful foundation for the regular European tours of US divas like Candi Staton and Marlena Shaw. The triumvirate of key band members Crispin Taylor (drums), Ernie McKone (bass) and Mark Vandergucht (guitar) also doubled up as the rhythm section for the innovative Galliano – a conscious and wayward band that sold in excess of 800, 000 albums. PUSH are one of the mainstays of the Eighties Rare Groove and Acid Jazz scene alongside Brand New Heavies, Young Disciples and Soul II Soul. PUSH is on a mission, bringing a breath of fresh air and a wealth of musical experience into a very popular scene for people that "Feel the Funk!"

Trailblazing a new wave of House hero, from the heart of Techno-dominated, Berlin - LOVEFOXY here delivers a dynamite 3 tracker for NYC's Nervous.

Opening up proceedings, with a defiant, smile-inducing, soliloquy - is ˙Sluthouse˙; a track that truly wears the artist's roots on its sleeve. With it being a pure celebration of heyday, US House music at its material core; whilst at the surface - a proud embrace of that inimitable Berlin attitude, atmosphere and desire to always be pushing things forward.

With its stripped back garb and distinct sense of purpose - ˙Freakfest˙ is pure club-born fire... its booming kicks, skating rides and racing hats delivering an invigorating sense of urgency that's hard to resist.

Summed up beautifully by her latest bio - LOVEFOXY's sound is often epitomised by its 'warm punch'; something that EP closer ˙Buisness First˙ showcases brilliantly. It's muted stabs, reverberating chords and hazy strings providing an almost palatial level of warmth; whilst the resonant bass, galloping kicks and incisive snares pack an almighty, sucker-punch.

‘Diré’, Idrissa Soumaoro new album, comes as a surprise to Malian and international audiences. Composer, singer, guitarist and master of the kamalen n’goni Idrissa Soumaoro presents here a beautiful collection of songs on his third album, Diré, named in honor of the town where he met his wife and where his first daughter, who is no longer with us, was born.
In 1971, after his studies at the INA in Bamako, Idrissa was transferred to Diré to teach music at the lPEG (Pedagogical Institute of General Education). He was 22 years old when he arrived in Diré. Idrissa has always been nostalgic for this beautiful place in the 333 Saints of Timbuktu region. As Idrissa sings in ‘Diré taga’ (Going to Diré), the track that opens the album, the city evokes deep emotions for the artist, as if it were a long-lost friend or lover. Celebrating the memory of the city of Diré leads the artist to retrace stories and lived situations that marked and animated him in years gone by: ‘I really miss the people, the colleagues, the friends and that period. Despite the time that has flown by, I would ardently wish to see Diré again’. Today, at the difficult time Mali is experiencing, remembering the city of Diré in the 1970s also means for the artist not giving up hope for peace: ‘The memory of Diré, a beautiful town in northern Mali, strengthens my hope for peace, union and real independence for the happiness of my people’; as he sings in ‘Sababou’, ‘Without hope, there is no life. Together we will succeed’.
The ten highly original compositions of the album are strongly based upon traditional music of Mali, but Idrissa’s life experiences, travels, education, collaborations and personal musical career have led him to compose and perform music with other influences. As Idrissa quotes: ‘My inspiration generally comes from the donso n'goni, a Bambara instrument played by and for hunters throughout Mali. This is a pentatonic instrument, similar to the blues exported to the USA by black African slaves. I've also spent so much time playing a variety of music that my music also reflects rumba, salsa (as well as Bamanan blues and a few derivatives: jazz, country, soul, rhythm and blues) etc. I have looked for and hope to have found my own form of expression from these influences’.
Throughout the album, his strong, clear voice sings in French, Bambara and English. It rides seamlessly upon a complex rhythmic sea of distinctly West African stringed instrumentation and percussion with accents of flute and balafon. There are keyboards in a few songs, but these, happily, do not dominate the music as we hear so often in today’s music. This album presents the music of a mature artist who has ‘been there, done that’ and returned to celebrate his country, his roots and his dreams in a flawlessly produced collection of songs of love, reassurance, fatherly advice and hope.
The album already has a long history: it was initiated in 2012 by Marc-Antoine ‘Marko’ Moreau, former producer and manager of Amadou and Mariam. Moreau had plans to produce the album and invited Idrissa Soumaoro to start recording in Manjul's studio in Bamako. When Moreau suddenly passed away, work on the album was still missing. The pandemic still added time for the production to continue. With the help of Climax Orchestra, arrangements and orchestrations were finalized in France. At the artist's behest, 'Diré' will finally be presented to the public by Mieruba, the independent label based in Ségou, the home of the blues in Mali. 'Let's stand together so that Mali can flourish': from conception to production and distribution, this is the message that 'Diré' carries.

In an inspiring collaboration uniting artists from different corners of Europe and the Middle East, Palestine's Muqata'a, French-Irish Zoë McPherson, and Lebanon's Rabih Beaini have merged their creative forces to remix the Belgian/Iraqi band Use Knife's influential album 'The Shedding Of Skin'.

'Peace Carnival', released on Berlin’s Morphine Records, challenges the narrative around peace through its percussion, glitches, distortions, and Muslimgauze-esque minimalism to critique and rethink perceptions of justice and freedom.

This year, Carnival's usual satire and mockery should be directed towards the so-called and one-sided definition of 'peace'.

Turman first came onto the industrial scene in the late 70’s as the ominous ‘other half’ of legendary noise outfit NON. Shortly after recording the classic 1977 single Mode of Infection, Turman went on to pursue his own unique vision as a solo artist. Fusing every possible influence at his disposal while laying his ideas down on self-released cassettes like Flux (1981), Spirals of Everlasting Change (1987), Way Down (1987) and the massive Chapter Eleven cassette box set (1988). After a hiatus Turman resurfaced in 2005 to team up with seminal noise musician Aaron Dilloway. Since then, he has been gradually adding new titled to his already impressive discography.

For this archival release Turman selected 7 tracks that were recorded between 1980 and 1984. A welcome supplement to his library of avantgarde music that was released in the 80s. This album fits in nicely between the early industrial noise, the long-form minimalism of Flux and the rhythmic industrial of Way Down. Focusing on slowly shifting hypnotic loop-based layers of sound, it covers a specific side of Turman. It feels like there’s a direct link to his earliest works but it’s also a precursor to some pieces that were recorded much later. A missing link that finally gives us the opportunity of a complete overview of his early audio work.

All 7 tracks on this album have a connection to the written word in the form of a poem. Scans of the original typewriter poems are included together with collages and drawings from this specific time frame to create an essential and singular piece of art.

Black Cassette Tape, handmade printed fabric case, riso printed paper cover, DL code.
Limited to 40 copies.

Tot Onyx is a solo project of Tommi Tokyo, who loves to work with sound and body. As the founder
of the experimental live act group A, Tommi has explored her ideas of breaking the preconceptions
of live performance by incorporating use of the body, live-painting, noise and poetry. Adept at
bending expectations, the band’s formative early work echoes the experiential vocabulary in which
Tommi continues to develop today. A practice in the rejection of tradition and cliché, which in Greil
Marcus's words, "Share the principles of negation, rebellion, destruction and détournement”.
Her rst self-released EP T.O.1 is a collection of fragments of Onyx's live performances from recent
years, recorded in her studio as part of her creative process during the preparations. While her
albums (1st album Senno I released in 2022 on iDEAL Recordings, and the forthcoming album in
2024, info tba) are highly conceptual and revolve around specic subjects, this EP serves more as her
diary, in which she aims to share with the public how her thoughts are shaped by time through the
practice of performing live.

"It seemed that if I didn’t somehow repeat the process of greatness, and do so immediately, multiple times away to satisfy playlist and binge watch culture, then I “wasn’t shit”. After a while I was like “nah this doesn’t feel good,… I don’t know if I am finding joy in this”. I would record songs and not release them, obsess over sessions recorded in my home with 30 takes of vocals and wake up only to delete them. When it began to feel right I found solace in an epiphany that I was not obligated to operate at any other wavelength. I am moving on a different type of time, and that doesn’t expire." -Cavalier

For heads of a certain time period of NYC hip-hop, Brooklyn born, New Orleans-based rapper and songwriter, Cavalier was the one that got away. The outrageously talented artist whose name and reputation preceded him everywhere you went in the scene. The rapper who everyone knew was so dope that he had to blow, but who never seemed concerned with any of that. The pretty boy draped in Polo who stole every live show with a feather in his hair and a mouth full of gold fronts. The cat so dedicated to his own independence that even indie labels stopped trying to sign him and projects came when they came, but when they came they were undeniable.


Cavalier was THAT guy for a lot of us; a silver-tongued philosopher with an eye for the poignant details of black life and a delivery as effortless as a young Ken Griffey’s swing. All that said, it never really felt like Cav had that moment in the spotlight that we always assumed was coming. After chiseling away through headier cult corners of the NYC hip-hop scene Cavalier was recognized for his memorable co-pilot to Quelle Chris’ 2013 Mello Music debut, Niggas Is Men. The critically acclaimed LP helped propel Quelle Chris into the forefront of indie hip-hop (and also happened to be the first production credits for Messiah Muzik). Cav followed up with his first full length, Chief, which sports a notable Raekwon feature but also early work from producers like Ohbliv and Tall Black Guy. A relocation to New Orleans and partnership with producer/vocalist Iman Omari yielded two more projects: 2015’s Lemonade EP and Private Stock in 2018. Great records all; eagerly sought by collectors and signal boosted by influential media like OkayPlayer, Solange’s Saint Heron, and Pitchfork. Cavalier’s bonafides have never been in question, but his new album Different Type Time feels like a revelation—a sonic suspension bridge between his rich history and the artform’s future.

Different Type Time doesn’t sound like the future though, its vibrations are somewhere all their own. It sounds like jazz, like a conversation overheard in roti shop, or a pool hall, or the foyer of your old building on a fall day, front door propped open with a brick. The blues is in there too, and the south—the American South, and theGlobal South, and South Brooklyn. It’s not that it sounds like the past, but you can hear everything that came before in the thick of the basslines and the yearning of the keys. Different Type Time also doesn’t sound like now, it sounds like RIGHT NOW; the bounce of the lyrics like the staccato of basketball in the park, carried on a spring breeze.

Although he doesn’t rap on DTT, Quelle Chris plays a pivotal role; producing eight songs and serving as associate producer/consigliere to Cav throughout the creative process. “There is no time wasted in explaining things when I collaborate with Quelle. He understands the universe I am in and the realities I want to create. He’s in them. And I don’t think I can envision one without him,” Cavalier explains. Messiah Muzik, Wino Willy, Ohbliv, Ahwlee, Child Actor, Fushou and several other producers round out the credits, all lending their talents to the album’s spaciously soulful sound. At the center of all these alchemies is Cavalier, nimbly dancing in and out of pockets like a sidewalk game of jumprope. Different Type Time is a masterclass in this thing we call hip-hop; daring and original, yet always standing deeply rooted in the culture.

"Espontaneamente se Tenta: Aventuras Sonoras de Djalma Corrêa is an album of deeply exploratory pieces by legendary percussionist and composer Djalma Corrêa. This double-LP set features previously unreleased recordings that cover a wide range of sonic experiments, revealing an unknown side of the prolific and groundbreaking Brazilian artist. Most of the tracks on this album were digitized for the first time – directly from the original tapes – and were compiled in collaboration with Corrêa just before he passed.

The result is a wild and unsettling collage that shows us just how original and intense Corrêa could be: from the unorthodox electroacoustic piece Evolução (Para Fita e Filme), which channels ancestral African inspirations to create a sonic cosmogonical narrative, to the proto-mixtape Exemplo de Sintetizadores, in which he transitions from transcendental drones to astral cha-cha-chas.

While the compilation might seem disjointed at first listen, it is in fact the most accurate translation or representation of his central concept: spontaneous music. Djalma's relationship with sound was always guided by his fearless approach to listening, and by his audacious and dynamic interaction with both musicians and equipment, which enabled him to work across a wide array of genres: from jazz to completely abstract music, always through a personal DIY ethic.

Corrêa developed a strong bond with experimentalist and inventor Walter Smetak, with whom he shared a studio during his formative years at Universidade Federal da Bahia. Suite Contagotas, featured in this collection, is no less than a sonic materialization of that bond: an experiment revolving around dripping water and its randomness – a tentative exploration of the ideas and possibilities envisioned by Smetak for his audacious, albeit unrealized, Estúdio OVO.

Djalma, however, is best known for his studio work in historical albums, including many by Caetano Veloso, Gilberto Gil and Jorge Ben, and for his own polyrhythmic opus Baiafro. The last track is an early recording called Bossa 2000 dC, first performed by Djalma at the 1964 Nós, Por Exemplo concert, an event which is often cited as marking the beginning of the Tropicalia movement. At the time, he was the only artist in the lineup using electronic devices to create sounds, e.g. medical oscillators and contact mics to augment his percussive palette.

The artwork is an amalgamation of material found in the Djalma Corrêa Archive (currently managed by his son Caetano Corrêa) and other material created during the period in which the record was being put together. The intention is to guide the listeners through this possibly tempestuous soundscape, giving them additional resources so that they may draw their own meanings and make their own sense of this extremely immersive and original experience – which is like nothing we've ever heard before."

A bit more than half a decade on from his widely acclaimed debut Vanishing Points from 2018, Swiss guitarist, composer, and improv musician Manuel Troller releases his new record Halcyon Future. A rhythmically dense and ambiguous, yet joyful ride for unstable times, a plea for warmth and hopeful resistance.

Troller’s mode of incorporating, zooming in, and expanding on small elements from improvised sessions creates a multilayered work of driving rhythms and abstract, vibrating textures. Opening with Halcyon Future I’s distinctive open pulse, this first piece guides us through subtle harmonic shifts that are almost unrecognizable as they take place over extended time, overlapping and creating a sense of ambiguity until the piece reaches an almost optimistic level with Mario Hänni’s unexpected introduction of driving acoustic drums. Relentlessly and with increasing excitement, heavy electronic 80s bass drums and an armada of layered hi-hats push them on, leading to the all-incorporating melodic finale.

The two long pieces Halcyon Future I and Halcyon Future II focus on forward momentum. In between them stands DNA, a purposely directionless contemplation on emotion as such. It is raw, naked, and confrontational, with a tender and subtly changing chord progression creating intimacy and proximity, abstraction and warmth, like a beautifully vibrant hologram for the listener to walk around in.

The B-side with its 20-minute Halcyon Future II features playful futuristic guitars, enhancing and challenging the stereo image that Troller is already well-known for. As it’s given time to develop and take root, the ever-varying guitar interactions densify and the staccato patterns jump out of the speakers with joy, creating excitement and building momentum. Compared to Side A, things turn to a slightly more complex rhythmical, melodic, and harmonic feel here. There are easy references, such as Manuel Göttsching’s E2-E4 or Pat Metheny performing Steve Reich’s Electric Counterpoint, but Troller goes a different and very much more concrete way. Although the piece has been recorded in various places and through a long process of overdubbing, there is an astonishingly strong live feel to it, from beginning to the end, from the slow rise to the full spectrum and the almost krautrock-like finale. Improvisers Hans Koch on soprano saxophone and Michael Flury on heavily fuzzed trombone join in, while Troller and Mario Hänni on many guitars, bass, drum machines, and acoustic drums provide a joyous driving entity, not giving up until it all breaks down again. There is overkill and brute force, though never without depth and a vision of future.

In the musical scope of Halcyon Future, there is no need for an absolute definition of things. A continuously changing interpretation of repetitive and variable elements fading in and out of focus tells a story of an excited sense of acceptance. Feelings of transcendence stem from Troller’s layering of constantly shifting rhythmic structures with unforeseen improvised harmonic changes. Drum machine parts overlayed with acoustic drums shift between musical modes, anchoring the album on the verge of a jazz-influenced, motorik, post-ECM balearic plateau. Abstract textural elements gently swirl around and behind all that is rhythm, providing a submissive counterpoint. As with much of Troller’s work, Halcyon Future is an album that unfolds slowly, revealing more of its richness, detail, and subtle beauty at each listen.

Halcyon Future is a joint release by three:four records and meakusma.

very dope.

With this EP an attempt is made at documenting the vibrant action happening during the late 1970s and early 1980s in the Pioneer Valley area of Western Massachusetts, US. The story is richer than the snapshot we present here, and a more detailed account is to be found in the accompanying book that can be purchased separately.

The Five Colleges in Hampshire County congregated a vast student population that inevitably interacted with the towns in the area. Bars, music and record stores, live music and a lot of experimentation and free thinking. Hampshire College, especially, promoted new approaches to teaching, subjects that might be considered radical by some even today, although a more favourable context would now surely exist for openly debating such topics as American Indians, Kayak Design, Black Oral Tradition, Food Management, etc. And the music? The immediate "punk effect" motivated the creation of numerous bands, many short lived, others evolving into New Wave / Power Pop territory, eventually crossing into Post-Punk experimentation. What is captured in "Noho EP" is a more electronic disposition, favoured by the existence of EMS gear and other equipment at Hampshire College and University of Massachusetts. We chose to focus on a group of musicians who, for a time, played together in different combinations under the loose umbrella of the Tekno Tunes label and the structure around it.

These musicians come from very different backgrounds and the nucleus portrayed here consisted of Christopher Vine, Elliott Sharp, James Whittemore and Nicholas Brown.

Of the several line-up changes The Scientific Americans went through, it was actually only the duo of Chris Vine and Jim Whittemore who recorded "Among Bodge Watt". Never before released, it is a companion piece to their track "El Salvador" available on the 1981 ROIR tape-album "Load & Go!". The Sci Ams were founders of the Tekno Tunes label and also created the Tekno Tours "concert promotion agency", under which name they exposed local audiences to bands such as The Stranglers, The Slits, Pylon, Pere Ubu, The Psychedelic Furs, The Bush Tetras, Steel Pulse, etc. Their own sound kept progressing but at its best there's a solid dub undercurrent, pretty obvious in "Among Bodge Watt".

Human Error was born out of a collective jam by Chris Vine, Elliott Sharp, Jim Whittemore and Nick Brown. Elliott Sharp had moved to Northampton in August of 1978 and naturally became involved in the local music scene, hooking up first with Whittemore at a hi-fi audio store where he worked at the time. Basement jams followed stimulating conversations, and other musicians joined the sessions. "Clandestinator" sounds gorgeously loose, an effortless groove coming from a quasi-dub set-up. Nothing here seems calculated, the music just flows, contagious and irregular as the handclaps in the mix.

The Higher Primates later evolved into a "proper" band but started as Nick Brown's solo project. The Primates only ever released a (now sought-after) 7" single in 1980 (on the Tekno Tunes label, precisely). Both tracks on "Noho EP" were recorded the following year and never released until now. "Auto Music in the Disco Dub Style" is self-explanatory, with a steady, mid-tempo TR808 beat running through, supporting synth squelches, echoes and reverbs, a fat bassline, dissonant melodic lines and odd vocal snippets. Kind of a DJ tool when the concept was barely in place. The more uptempo "Teresa Variations" adds a Fender Jazz bass and Selmer sax to the electronics. It actually sounds more "Disco", even with the robotic, unintelligible vocals. On top of this, the vibe is sealed by the overall Radiophonic Workshop analogue strangeness applied to a dance beat.

Fat french drum & bass release. A huge production for those who wants some good banging unusual breakz. Efficient and powerfull. A real pleasure for us !! Killaz'

A sparsely documented yet iconic era for Ted Milton's psycho-funk afro punk fake no-wave pogo jazz group Blurt has been brought to life with an expansive collection of restored versions of live performances. Captured on early camcorders during the frenzy of counter-cultural activity that characterised Europe around the fall of the Iron Curtain, these recordings of Blurt, recently posted by fans on YouTube, are a visceral reminder of a scene whose influence is writ large on today's alternative music culture.

Ted Milton's trio have produced an impressive string of albums, not to mention his numerous solo recordings. Featuring 15 tracks spanning their extensive discography from their 1980 debut single – also the title of this collection – “My Mother Was A Friend Of An Enemy Of The People” to 1999’s “Eat Up Your House”, this live collection of performances have been digitised by whatever means available. The original sound captured by the inbuilt microphones of these camcorders and the videos concerned are in many cases the only documentation of an iconic era whose zeitgeist was so masterfully epitomised for many by Blurt.

Refurbished / restored/ repurposed using new AI tools there is a spectral roughness to them but surfing on these reconstructed waveforms, the inimitable machinations of Blurt ride out once again, emerging from a pixilated oblivion to put into perspective the peculiar absurdity of our human condition.

Bank NYC is very excited to present the definitive statement of Collector, "No Prospects". Collector is the solo guise of Jason Campbell, resident of Newcastle, Australia. Since 2014, Campbell has been channelling the industrial malaise of his hometown through his unique take on heavy electronics. After a series of releases on global-spanning labels such Steel City Dance Discs (UK), Nice Music (AUS), Clan Destine (SCO) & Night People (US), the debut long-player for Bank NYC finds Collector embracing true album form for the first time in his discography. Across eight pieces, Collector delivers a bleak sonic narrative via a hardware-only approach to production: Analog drum machine patterns are intricately intertwined with menacing synth lines, and driving bass is met with the unrelenting clatter of tightly-sequenced field recordings taken straight from the heart of local industry.

Thematically, "No Prospects" navigates the downfall of Newcastle's BHP Steelworks at the end of the 20th century. Acknowledged widely as the largest de-industrialisation event in Australian history, the closure of the Steelworks in 1999 marked a dramatic cultural shift where blue-collar vocations were vanquished due to an economic slump, and were consumed by the trending cosmopolitanism seen in adjacent cities. "No Prospects" draws on Campbell's family lineage in the Newcastle's steelworks, providing a rich, personal context to an industry that both gives and takes away. The sharp intensity of the album is sustained by dramatic shifts in pace: the devestating slow burners of 'Two From Five' and 'Ricochet' are instinctually offset by the frenetic 'CFT' and 'Workers Club Collapse', which showcase Campbell's no-nonsense approach to shaping an almost club-ready breed of modern industrial techno. Although diverse across both sides, cohesion is found in Campbell's toolkit of samples that are unmistakably Collector. The album's eponymous track, 'No Prospects', serves as an introspective centrepoint - a largely arrhythmic excursion shrouded in familiar brooding, textural drones, and underpinned by the chug of machinery on the brink of collapse.

Although forever indebted to the spirit of local electronic outcasts, Bloody Fist Records, Collector's "No Prospects" is a remarkably distinct statement straight from the heart of Australia's Steel City. The complexity of arrangements speak to Campbell's long association in experimental music communities, whilst the persistent feeling of dread conveys a uniquely regional story of decay and futility. Pure Novocastrian industrial electronics.

Atmosphere and gravity lean into each other. They are simultaneously expansive, and anchoring. They hold us, and lend a sense of perspective. They provide a stability and a knowingness which is essential in the absolute, and yet we can't help but find ourselves gazing upward, outward and reaching towards that which sits outside those things and ways we know. Selene is a record about that this lingering desire for that which sits beyond. It is work that seeks new perspectives snatched from familiar vistas, and it meditates on that sense of anchor and perspective. The work is also a speculative hymn to the visions of the celestial zones that spill ever outward. These visions, once merely what we could perceive with the naked eye are now so much more. Our minds eye is fed in equal parts by radio telecopy, filmic dreams and fiction renders of a place most of us will never know first-hand. This recording ties into a linage that reaches back, while stretching forward. It is just one story of so many, told across places, across cultures, across generations. It sits in the in-between of before and after, and in that moment invites us to situate ourselves and lean into it.

"Tools of Oppression / Rule by Deception" is the new full length album by The Hope Conspiracy. The album was engineered by Kurt Ballou and Zach Weeks at God City Studios. Artwork for the release was created by acclaimed artist Alexander Heir (Death/Traitors). This is true sonic violence aimed at political division, economic manipulation, war profiteering, media propaganda and other vile forms of global oppression. Air raid sirens wail as the foreboding "Those Who Gave Us Yesterday" and "The Prophets and Doom" explode forth like burning shrapnel. The hell ride continues with "A Struggle For Power" and "Live In Fear", two vicious blasts supercharged with malice and contempt. "Shock By Shock" and "Of A Dying Nation" introduce doom and gloom heaviness, grinding down the tempo to a mid-paced barrage. "Confusion/Chaos/Misery" picks up the pace, going scorched-earth policy on the sociopolitical nightmares that ensnare us all while "Broken Vessels" plows into overdrive about the opioid crisis and addiction as a whole. This leads to "The West Is Dead" a dystopian hook laden hardcore anthem, and epic closer "The Specter Looms"; An ominous soundtrack to the steady decline of our modern age. There is no question, The Hope Conspiracy is back to make a cold hard statement about existence in the end times.

Atmosphere and gravity lean into each other. They are simultaneously expansive, and anchoring. They hold us, and lend a sense of perspective. They provide a stability and a knowingness which is essential in the absolute, and yet we can't help but find ourselves gazing upward, outward and reaching towards that which sits outside those things and ways we know. Selene is a record about that this lingering desire for that which sits beyond. It is work that seeks new perspectives snatched from familiar vistas, and it meditates on that sense of anchor and perspective. The work is also a speculative hymn to the visions of the celestial zones that spill ever outward. These visions, once merely what we could perceive with the naked eye are now so much more. Our minds eye is fed in equal parts by radio telecopy, filmic dreams and fiction renders of a place most of us will never know first-hand. This recording ties into a linage that reaches back, while stretching forward. It is just one story of so many, told across places, across cultures, across generations. It sits in the in-between of before and after, and in that moment invites us to situate ourselves and lean into it.

It is 1983 and you've just stepped into your Ford Capri with your girlfriend Julie. You live in Harlow, but in your head you're really somewhere near Salou in Spain, next to your yacht. But the thing you really love is soul and they play nothing but at Sups in Loughton. OK, so It's not 1983 at all. It's 2014, but listening to this electrofied soul, will put you back in the zone. Tom Findlay, one half of Grammy-nominated Groove Armada, has put this collection together: a stamp of authenticity in itself. Tom has also put a few of these through the edit wringer, reworking many of the tunes for maximum towelling sockability.

You'll probably recognise a few tunes. There's Mtume's incredible 'Juicy Fruit', still sounding advanced and modern, while 'I Specialize In Love, mixed by disco legend Tee Scott, is even older yet sounds equally perky.

The 1980s was a period that was pretty much owned by Minneapolis thanks to Prince and former cohorts Jam & Lewis and the latter weigh in with a pair of killer productions, Thelma Houston's 'You Used To Hold Me So Tight' and Alexander O'Neal's 'What's Missing'. And since this is Late Night Tales, there is always our exclusive cover version, this time done by Findlay and Tim Hutton's Sugardaddy, who've delivered an ace version of 'Don't Look Any Further'.

Grab yourself a bar stool, order a cocktail, take a sip and make believe you're lying on a shagpile carpet with the soul star of your dreams.

Bill Brewster

Automatic Soul, like my previously compiled Late Night Tales Music For Pleasure, is based very much on a sound. It's a sound that I feel has been overlooked: 80s R&B-infused music, with drum machines, synths and invariably brilliant vocals. It's formed the bedrock of my rare groove sets for all the years I've played. It's not the most fashionable, but to me it's the perfect marriage of technology and soul, hence the title for this album, Automatic Soul. There are plenty of songs I could have included, and no doubt some that I shouldn't, but I've tried to represent what's best to me from this era. It's not a classic Late Night Tales. It's a pretty personal journey, which I hope some of you might be willing to share... Tom Findlay Groove Armada September 2014.

The Slovak band Shallov releases their new track "Refrain" on the experimental label Weltschmerzen just one year after the release of "Coexist". Two tracks that both span more than 10 minutes in length, work together as one coherent audiovisual art piece and are out as an EP on 10" vinyl. Music videos do not only visually supplement both tracks but they are equally autonomous art pieces.

The visual feature of the music pieces is highlighted by the vinyl's cover painted by Slovak artist Michal Fízik. The previous back cover carries a photograph which served as an inspiration for the painting while the current back has been created via AI reinterpretation.

The musical component of Refrain is based on a repetition building into a hypnotic trance, gradually disintegrating so it eventually ends in a monumental climax. It contrasts the band's previous work as well as the track Coexist which uses rather neverending rhythmic variations, and a changeable vibe and atmosphere.

The concept of the visuals in Coexist is a result of a collective fusion between the theatre director Adam Dragun, Viktor Ori and dozens of other participating non-actors. The video depicts individualistic egoist actions shaping a contradicting and incomprehensible totality of the world which ultimately seems to be alienated to everybody.

Refrain is an introspective journey leading to the dissolution of the individualistic experience of human existence. The video's concept, direction and production was conducted by the visual artist and performer Jak Užovič who also tends to inter-media art and object installations.

As Shallov and Jak Užovič explain the track's conceptual background: "The idea of owning one's own body and mind is an unnatural way of looking at ourselves imposed by the dominant paradigm. It's a blind ideology - the view of a body as a machine or a commodity is incomplete and represents a materialistic utopia which is being systematically internalized. We're not a community that acts right or wrong, our intentions are determined by an ideology which pretends not to exist - our relations are relations of masters and slaves, of domination and exploitation. We are a society bound by these features and even though we refuse to admit it, the world presented to us is only a legend we're striving to keep alive at all costs, while believing that there is no alternative. Our quality doesn't stem magically from the inside, on the contrary, it's determined by the conditions within which we interpret it through collectively shared fictions. We don't get to know our consciousness through ourselves, but we recognize it through others as they create and form us."

This rare vintage Earl Hooker LP is packed full of high class blues instrumentals and soul-tinged arrangements.
A few familiar R&B tunes are covered here, including "Dust My Broom" and "Hold On, I'm Coming." This reissue comes with the original Red Lightnin' artwork designed by
US underground comic artist Robert Crumb, including a poster of the artwork too. Pressed on heavyweight splatter/burst effect vinyl.

Andrea has his roots in the independent musical scene in the first decade of the 2000s. In addition to his compositional and live experience as the first Nadàr Solo drummer, he is one half of the Turin duo Anthony Laszlo with Anthony Sasso, ex guitarist and singer of Milena Lovesick. Andrea Laszlo De Simone made his debut in 2012 when he released his first homemade album, Ecce Homo. Recorded at home by makeshift means and accompanied by the following videos: Solo un uomo, 11:43, I nostri piccoli occhi, Perdutamente.

At the beginning of 2014, he met some experienced musicians from Turin’s underground scene that later, after a few months in a rehearsal room, became his band: Damir Nefat (guitar/backing vocals), Dani C (bass guitar/backing vocals), Filippo Cornaglia (drums/backing vocals), Zevi Bordovach (keyboards/backing vocals) and Anthony Sasso (keyboards/backing vocals/percussions).

Anticipated by the individual tracks Uomo Donna, Vieni a salvarmi and La guerra dei baci on June 9, 2017 - for 42Records - Uomo Donna came out. It’s Andrea Laszlo De Simone’s first real album, a well received work by both audience and critics. It also was pointed as one of the best albums of 2017 by several national music magazines.

Uomo Donna is a complex, articulate and vital album that lives in its own time - where past, present and future coexist. It’s a time in which a sonic world takes shape blending classic and modern, Italian songs with psychedelia, Battisti and Radiohead, Modugno and Verdena, the Beatles and Tame Impala, the magical flight of Claudio Rocchi and the earthly flight of IOSONOUNCANE.

The album was self-produced and then post-produced by Andrea in collaboration with Giuseppe Lo Bue, a sound engineer from Bologna. The recordings were made between October 2014 and the end of 2016 with experimental techniques straddling digital and analogic.

After playing in some important Italian festivals as Siren Festival and TOdays -- that earned him a special mention in the live scores by Rolling Stones -- on October 28, 2017 the first Uomo Donna album tour started in the clubs of the major Italian cities.

On November 30th 2017, Andrea Laszlo De Simone presented his video, Sogno l'amore, during the Torino Film Festival as a short film, shot in Sicily and directed by Francesca Noto and Andrea Laszlo De Simone.

On March 15th 2018 the music video of Gli uomini hanno fame was released, the most political song of the album, an overlook through ferocious human emotions, an eleven and fifty minutes trip within human nature portrayed even in its most ferocious instincts. The music video was directed by Andrea Laszlo De Simone and the mysterious duo Sans. The official cycle of Uomo Donna ends on 31 December 2018 with the music video of Sparite Tutti created by the creative collective Irene&Irene.

2019 was a year of new goals for Andrea, in fact, the album Uomo Donna leaves national borders and got a special mention on social media by the famous American band The Lumineers which included Andrea Laszlo De Simone and Uomo Donna among the most interesting discoveries of the international musical underground and inserts Solo un Uomo in the Spotify playlist “Inspirations”. A few days later, Solo un Uomo was broadcasted by KEXP Radio. On November 4th Andrea and his band were chosen to open for The Lumineers’ only Italian show at Alcatraz, in Milan.

On November 8th Andrea released a brand new work, digitally and on vinyl for 42Records, Immensità, a ‘suite’ of four singles: Immensità, Conchiglie, Mistero and La Nostra Fine. Turned into a medium-length film using Immensità as the soundtrack.

Immensità was presented with four special sold out concerts in Rome, Turin, Padua and Milan. For these shows Andrea Laszlo De Simone was accompanied on stage by a mixed orchestra composed of synths, electronics, choirs, strings and woodwinds. Classic and modern instruments that are intertwined in a nine elements formation: an immersive concert, a contemporary version of chamber music.

In March 2020 Immensità was released also in France, UK, Canada, Belgium and the United States with Ekleroshock/ Hamburger Records (Roster: Benjamin Clementine, Polo & Pan, Limousine and many others). The response of the transalpine press and media, sector and not, was unexpected: major French newspapers and magazines - from Le Monde to Liberation, Vanity Fair and Les Inrockuptibles - dedicated entire pages and rave reviews to Immensità and Andrea Laszlo De Simone. The track Immensità entered, after a few days, at the fourteenth rank of Spotify’s Top viral 50 playlist and broadcasted on France Inter and Radio Nova.

“Immensità” is a complex cross media work of music and images. A project divided into four chapters (the songs) for nine tracks (each chapter has a prologue or a conclusion). A true suite, using the classic term that best describes an instrumental composition in several stages, that can be enjoyed in its entirety only by listening to vinyl or digitally in the innovative single track format, without pauses: a single symphony of 25 minutes and 6 seconds.

In September 2020, Dal giorno in cui sei nato tu was released on all italian platforms, a song dedicated to Andrea’s children, a real love letter in the form of a small speech, where he tries to give them the three keys to approaching life: fantasy, music and irony. Martino, 8 years old, replies to his father’s love letter by making the video accompanying the song, created in Super 8. It's the story of the world through the eyes of the child. It is also an homage to the new little girl in family, Lucia.

The phenomenal three-piece band includes members of Oranssi Pazuzu, K-X-P, Grave Pleasures and Aavikko


Svart Records is proud to release the debut album, I, from Haunted Plasma, a powerhouse of futuristic synth in symbiosis with the super violent atmospherics of kosmische Black Metal. Haunted Plasma is “man meets machine” in a cybernetic wasteland, set to a conceptual backdrop of William Gibson and Phillip K. Dick style mind-melt. The highly evolved creatives at the heart of Haunted Plasma’s sound, cite Terry Riley, Massive Attack, a contemporary take on Krautrock hypnosis, psychedelic Black Metal and 90s Techno, resulting in an orgy of mutant sound.



The phantoms at the beating nucleus of this unearthly machine are Juho Vanhanen (Oranssi Pazuzu, Grave Pleasures), Timo Kaukolampi (K-X-P, Op:l Bastards) and Tomi Leppänen (Circle, Aavikko, K-X-P), transmitting a music form evolved from a life of redefining sonic boundaries in their respective projects. Also featuring guest vocals from Mat McNerney (Hexvessel, Carpenter Brut, Grave Pleasures/Beastmilk), Pauliina Lindell (Vuono, Dust Mountain) and Ringa Manner (Ruusut, The Hearing). Haunted Plasma promises an extraterrestrial experience from some of the foremost contemporary musicians at the heart of the Finnish heavy and avant-garde musical underworld.



Haunted Plasma reveals:

“We are liberated futurists, embracing free-form and natural composition, mirroring the merciless forces of cosmic creation. We have a motto to stay true to our feelings, to spawn a sound that’s never been heard before. Servants of music. Energizing, radical and pure”


The first single from Haunted Plasma’s cascading debut, Reverse Engineer, is a creepy, slowly erupting, synthetic nightmare, of a downloaded being waking up in the wrong future. Ghostly vocals demand the listener to “give us what we want” in an Orwellian glimpse into the current dystopia we live in, where information is controlled, and thoughts are bought and sold. As McNerney intones the words “technology of power” he describes the threat of a malevolent and omnipresent artificial intelligence, as much as describing the oppressive and electromagnetic sonar pulse of Haunted Plasma’s sound itself. Psychedelic guitar hypnosis from Vanhanen snakes around Kaukolampi’s molten and morphing synths, while Leppänen’s uncanny man/machine rhythms pull our strings and animate their other-worldly mechanisms. Have a look at the official visualiser of "Reverse Engineer" on the Svart YouTube channel here


Culminating in the full-blown fast Krautrock of the final self-titled track, oozing with blistering noise elements and enigmatic vocals from Ringa Manner, the album's journey reaches its zenith, taking you to unknown territories on a Kubrikian space trip. I is a rare record of talented musicians coming together to create a completely new sound, which is entirely their own, boldly glowing, where no light has shone before. From the dreamy psychedelia of Echoes to the discombobulated Spectral Embrace, Haunted Plasma is a willful force of deliberate sound contortion.


Whether you want to give in to Haunted Plasma’s sound or not, you are being watched, you are being recorded and your every move is monitored. Haunted Plasma will enter your system on the 31st of May 2024. Turn on your phantom circuits and be prepared for an interdimensional excursion into Haunted Plasma’s alien dreams.

The debut album from Haunted Plasma will be packaged in a beautiful tip-on sleeve, swirling fog artwork, complete with 12” booklet and pressed on 3 exclusive vinyl colours: 300 copies on Standard Black Wax, 500 copies in Amber + Black Smoke and 200 copies of Svart exclusive Turquoise/Black Marble. The album will also be available on CD and digital platforms.

It could be argued that Brained and Cooloorta are the definitive NWW E.Ps. Both classic and timeless fan favourites appear for the first time together on one single album. Both E.Ps marked a distinctive change in the NWW sound. Brained from 1984 showcases NWW at their mid 80's finest. The relentless churning and uncompromising music of Brained by Falling Masonry is complimented by the eccentric mania of JG Thirlwell's vocals. A Short Dip in Glory Hole takes us into the murky depths of a David Lynch influenced nightmare, a lysergic unhinged movie for the ears, which greatly influenced the Peter Strickland film Berberian Sound Studio. Cooloorta Moon from 1989 takes us in a whimsical direction and further highlights the boundless originality of NWW. The evolution of NWW utilising more traditional instrumentation and bordering on the verge of song structures started coming to the fore on this E.P. In addition to all the original songs from the Cooloorta and Brained EPs, the 2010 track, Sarah's Beloved Aunt perfectly closes this collection. Lovingly remastered by Andrew Liles. Agian, this arrives in a beautiful die-cut sleeve with Babs Santini artwork.

Yes, *that* Al Hirt record. Featuring the godlike "Harlem Hendoo", looped unforgettably by De La Soul for the legendary Buhloone Mind State cut, "Ego Trippin' (Part Two)"!

Al Hirt's infamous Soul In The Horn is inextricably tangled up in crate-digger lore. Originally released in 1967, the album has been in heavy, heavy demand for over 30 years, entirely down to the majestic soul-jazz fire of "Harlem Hendoo". And it's a song so good, so vital, so timeless, that it will always tower above everything else in its proximity. This one track alone is worth the price of admission - even if the cost of entry were $100 or even $1000.

However, it would be an error to dismiss this record as merely a one tracker, loaded as it is with dope samples for adventurous beat makers. Certainly the funkiest Al Hirt record, it definitely lives up to the "soul" in the title. Thanks to composer Paul Griffin and arranger Teacho Wiltshire, Hirt got uncharacteristically free and groovy throughout. It comes on more like an obscure KPM library funk record than the easy listening Al was notorious for.

A Louisiana trumpeter and band leader who made Allen Toussaint’s “Java” famous, Al Hirt was also known for TV themes, Dixieland, Swing and being a minority owner of the New Orleans Saints. Unlike every other Al Hirt record - and despite most "diggers" claiming otherwise - this here gem is genuinely hard to come across "in the wild". Normally, you can't give Al Hirt records away, except this particular one, which raises pulses in the crate digging community to life-threatening levels. For every owner claiming to have found their copy for a dollar, there's scores more claiming to have *never* unearthed one in the field. So, paradoxically, you can consider this the most tricky-to-pull "thrift store record", ever. This is why we're finally making it available for everyone, not just those with endless hours to spend scouring the global goodwills!

Soul In The Horn represented an expressive detour into authentic soul-jazz for Al Hirt. Throughout, we're struck by a fierce, fiery energy that's otherwise absent from his typically easy listening work. Without question, the slinky, magical "Harlem Hendoo" is the standout, here. It's also the reason why the record is so scarce and commands awe among crate diggers, sounding like something from an obscure and deeply revered spiritual jazz record. As is often the case, the true genius of the song is tricky to do justice to; it's like a minor miracle of songwriting and performance that simply swooned down from the heavens on the back of horns, bells and harpsichord. It's one of the sweetest musical compositions ever recorded inside a studio - it's only failing is that it's just too short. Sampled brilliantly by De La Soul, it has also been used by The Roots for "Stay Cool" and Nightmares On Wax for "Damn".

The rest of the record makes for a mighty fine listen. From the opening cover of Booker T. & The MG's "Honey Pot", to the propulsive, ultra-funky "Mess Around", it's nothing but a good time. Given its title, the elegant stepper "Calypsoul" sounds exactly as you'd hope whilst the melancholic, wistful "Long Gone" hurts so good. Truly, this is just dying to be looped up, Al's muted playing capturing a soulful longing only horns can often achieve. The bluesy, slo-mo swing of "Sweetlips" oscillates between cool disaffection and swelling pride whilst the graceful, low-key funky "Girl" closes out the A-Side in the fine style. Ushering in the B-Side, the brief but brilliant strut of "Love Ya' Baby" shines brightly before the skipping funky-jazz of true highlight "Sunday-Goin' To Meetin' Time" demands both your attention and your dancing shoes. The mellifluous piano-funk of bass and horn-drenched "Snap Back" serves as the sumptuous prelude to "Harlem Hendoo"'s main character energy before the irrepressible, upbeat R&B of "Ludwig" closes out this quite remarkable album. An album deserving of a place in every serious record collection.

The audio for Soul In The Horn has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. This is after-hours music. Let it speak for itself. Listen. Listen to the soul in Al Hirt's horn.

The Dream Of Delphi is an ode to motherhood created in LA, Natasha’s second home, during the Covid-19 pandemic. It’s a sonic archive of a time when Natasha birthed her daughter Delphi earth side. The record weaves together ten song poems, documenting the polarity of navigating both an exterior world that was seemingly turning upside down, whilst also experiencing theprofoundly personal and transformational early moments of mothering Delphi, named after the Greek Oracle, the ancient future teller. The music became Natasha’s sanctuary, born out of stolen trips to the studio, where each track was improvised and completed in a few hours and chronologises her diary like offerings over a period of two years; from “The Midwives Have Left”; to writing a “Letter To My Daughter”; and all the way through to “Waking up”, as well as a cover of her daughter’s favourite song, “Home”.While the storytelling behind Bat For Lashes’ previous albums have traditionally used otherworldly narratives and female lead characters (e.g. ‘Laura’, ‘Daniel’ and ‘The Bride’), for the first ti me, The Dream Of Delphi is about Natasha’s personal experience of the magical and sometimes melancholy intimacy of early motherhood. This record creates a more private form of mythology around the music than her previous work. The Dream Of Delphi touches on more of an instrumental “Bat For Lashes” world, and shows Natasha to be both a confident composer and craftswoman of intimate landscapes. While the music creates a more womb-like, ambient space for the listener, it still leaves ample room for her signature dream pop songwriting to vibrate through. Natasha has worked with Brad Oberhofer, Mary Lattimore and Jack Falby on this record.

The Dream Of Delphi is an ode to motherhood created in LA, Natasha’s second home, during the Covid-19 pandemic. It’s a sonic archive of a time when Natasha birthed her daughter Delphi earth side. The record weaves together ten song poems, documenting the polarity of navigating both an exterior world that was seemingly turning upside down, whilst also experiencing theprofoundly personal and transformational early moments of mothering Delphi, named after the Greek Oracle, the ancient future teller. The music became Natasha’s sanctuary, born out of stolen trips to the studio, where each track was improvised and completed in a few hours and chronologises her diary like offerings over a period of two years; from “The Midwives Have Left”; to writing a “Letter To My Daughter”; and all the way through to “Waking up”, as well as a cover of her daughter’s favourite song, “Home”.While the storytelling behind Bat For Lashes’ previous albums have traditionally used otherworldly narratives and female lead characters (e.g. ‘Laura’, ‘Daniel’ and ‘The Bride’), for the first ti me, The Dream Of Delphi is about Natasha’s personal experience of the magical and sometimes melancholy intimacy of early motherhood. This record creates a more private form of mythology around the music than her previous work. The Dream Of Delphi touches on more of an instrumental “Bat For Lashes” world, and shows Natasha to be both a confident composer and craftswoman of intimate landscapes. While the music creates a more womb-like, ambient space for the listener, it still leaves ample room for her signature dream pop songwriting to vibrate through. Natasha has worked with Brad Oberhofer, Mary Lattimore and Jack Falby on this record.

Having been based in Sussex, Philip moved to an old mill in France and never stopped writing. In 2014 he released his organic and honest solo debut album "I'm Not The Man I Used To Be". This was followed up by the critically acclaimed Mental Home Recordings is upon us. And now Philip Parfitt is set to release Dark light via Chicago/London/Paris based label Tip Top Recordings.

A significant milestone in his long accomplished career, Dark Light features 10 beautifully crafted pieces, including deep cuts 'I know I shouldn't but voices' and 'Dark light' the title track, give ample evidence of Philip's prowess as a wordsmith and musician, but also arranger and producer. Think Nick Drake and Captain Beefheart accidentally bumping into each other at a private viewing of Bright Sta
in Heaven, you won't be too far out of the crease. Philip is accompanied by a merry band of friends and luminaries including Alex Creepy Mojo, Amelie Fish, Lucie Robet (who also wrote title track Dark Light with Philip), Gilda Scouarnec, Rog Mogale (who also mastered the album), and Mark Refoy.

Dark Light is released on digital, CD, limited edition vinyl LP with 200 copies in black and 200 copies in dark purple to match the darkly beautiful artwork by Fernando Ruibal. Sleeve notes come from Matthew Spector within the included booklet with art from Joane Charlotte Senechal, photography by Sarah Baba, and design by Anna Mort.

Freedom is deeply rooted in the working-class rock of the 70's and 80's, giving us a sound like no other. With meaningful lyrics, power chords and mighty choruses, they're inevitably creating a soundtrack to the journey of life itself. Nicke Andersson once described Freedom as a "bargain basement Springsteen" - a band making music meant to follow you through thick and thin, far into those never-ending summer nights.
Since Freedom first started in 2019, they've established themselves as an amazing live act, filling clubs throughout Sweden with both energy and audience. In 2022 they were honorably chosen to play at the official release party of The Helicopters at the notorious Hamburger Börs in Stockholm.

The band recently added two new members to the crew: Ola Göransson (Heavy Feather, Stacie Collins) and Matte Gustafsson (In Solitude, Siena Root, Heavy Feather). Their combined experience of heavy roots-rock and sense of stage presence, makes Freedom one of Swedens strongest live bands - guaranteed.
Their self-titled debut album from 2021 became a great topic of conversation, leaving a permanent mark in the rock-world of Sweden. Finally, it's time for the awaited second album to be released - once again produced by Martin "Konie" Ehrencrona (Viagra Boys, Håkan Hellström and Les Big Byrd).

1STEP Process 180g 45rpm Double LP Pressed on VR900-Supreme Vinyl!
Mastered from the Analogue Mix-Down Tapes of the Original Digital Recording by Bernie Grundman!
Ultra-Luxe "Monster Pack" Jacket with a Deluxe 16-Page Booklet & Striking Outer Slipcase!

New lacquers cut after each run of 500 pressings!

Strictly Limited to 5,000 Numbered Pressings!

Impex 1STEP #5 celebrates Patricia Barber's 1999 "return" to The Green Mill, Chicago's fabled jazz club. Conceived as a "companion" to her Grammy-winning studio album Modern Cool, Companion finds Barber and her touring band in inspired form, playfully and energetically performing hits and deep tracks from her celebrated oeuvre.

The dynamic interaction between the artist and her reverent audience adds a palpable sense of space and community. At the same time, the fans' hushed attention creates a studio-like sense of precision and detail. The snap and crackle of Barber, her grand piano, and her onstage partners practically leaps off the groove into your listening room!

Companion's fan-favorite reputation is enhanced immeasurably by Jim Anderson's jaw-dropping, lifelike recording. Eschewing the crystalline sterility of digital recordings of the time, Anderson's sound is always warm, natural, and lacking unforced "hype."

Like Anderson, Impex aims to present great recordings that are as natural as possible. And we couldn't wait to put our favorite Patricia Barber release, using Jim's analog mix-down master tapes, on 180 grams of VR900 Super Vinyl. The deep, inky black backgrounds and absence of surface noise will pull listeners right into those three evenings in 1999, capturing a seminal modern jazz artist at a creative and professional peak and reveling in a perfectly rendered and joyous audio time capsule.

Finally, our deluxe Impex Treatment packages the whole party with a lovely outer slipcase, a booklet containing a new note from Patricia, and a dazzling array of photographs from the evenings by frequent Barber collaborator Valerie Booth, exclusive to our 1STEP. Heavy paper stock with spot gloss coating and a faithfully recreated exterior design will satisfy original fans and aesthetes throughout the music-loving world.

Luxury Apartments have spent long enough pondering in the orb of creative frustration as art charged city dwellers and have alchemised a jagged piece of guitar work that calls on the past for a quick catch up before cracking on with their day as a witty, energised and wiry punk band. Formed before your favourite East London neighbourhood became full of high rises, cockapoos and pubs with Madri & Beavertown on Draft, there’s a whole swath of words you could use to describe Luxury Apartments, but doing so might draw too many parallels to estate agent listings wo we’re gonna let their track record and new LP do the talking… LA played with the likes of TOY, TELEGRAM, Deep Tan, Es, The Chisel and Rifle before even having an LP. Mixing dry humour with a belting live show served them well while the guys were woodshedding and earnt them early fans such as Graham Coxon and Jamie Reynolds, who I can only gather shed a single tear of seeing where they came from with all the chaotic guitar-busting, skin-splitting, bottle-smashing madness of an early LA show. But we’re here talking about NOW and NOW is the time to get your pre-order for their first LP, a half hour of power smashing the atoms of 80s c86 indie on lead track ‘Energy’, 77 punk on ‘Wire’ and new garage rock explosions on ‘Taliban’ which morph in to a piece of black wax that’s 100% guaranteed to get the disenfranchised wiggling, the fed-up hurling half bricks through foxtons windows and the punk lifers flipping off yet another boss before carving out another fork in their paths of resistance.

Die US-Progressive-Metal-Pioniere und Innovatoren PSYCHOTIC WALTZ machen endlich ihren gesamten fesselnden und zeitlosen Backkatalog weltweit über InsideOutMusic wieder verfügbar. In zwei Wiederveröffentlichungs-Schritten (Mai & Juli 2024) werden die klassischen ersten vier Alben der Band - "A Social Grace" (1990), "Into The Everflow" (1992), "Mosquito" (1994) und "Bleeding" (1996) - neu gemastert von Patrick W. Engel / Temple Of Disharmony als 2CD Digipaks mit viel seltenem oder bisher unveröffentlichtem Bonusmaterial sowie erweiterten Layouts erhältlich sein, und die Hauptalben werden zusätzlich als Ltd. Gatefold-LP-Editionen auf 180g-Vinyl neu aufgelegt. Eine zusätzliche Demo-Raritäten-Zusammenstellung (mit einem Teil des Bonusmaterials) mit dem Titel "To Chase The Stars (Demos 1987 - 1989)" wird ebenfalls als Ltd. Gatefold 2LP Edition erhältlich sein, was diese Re-Issue-Kampagne zu einem aufregenden und unverzichtbaren Projekt sowohl für langjährige Kenner der Band als auch für neuere Mitglieder der ständig wachsenden progressiven Musikgemeinde macht.

Die US-Progressive-Metal-Pioniere und Innovatoren PSYCHOTIC WALTZ machen endlich ihren gesamten fesselnden und zeitlosen Backkatalog weltweit über InsideOutMusic wieder verfügbar. In zwei Wiederveröffentlichungs-Schritten (Mai & Juli 2024) werden die klassischen ersten vier Alben der Band - "A Social Grace" (1990), "Into The Everflow" (1992), "Mosquito" (1994) und "Bleeding" (1996) - neu gemastert von Patrick W. Engel / Temple Of Disharmony als 2CD Digipaks mit viel seltenem oder bisher unveröffentlichtem Bonusmaterial sowie erweiterten Layouts erhältlich sein, und die Hauptalben werden zusätzlich als Ltd. Gatefold-LP-Editionen auf 180g-Vinyl neu aufgelegt. Eine zusätzliche Demo-Raritäten-Zusammenstellung (mit einem Teil des Bonusmaterials) mit dem Titel "To Chase The Stars (Demos 1987 - 1989)" wird ebenfalls als Ltd. Gatefold 2LP Edition erhältlich sein, was diese Re-Issue-Kampagne zu einem aufregenden und unverzichtbaren Projekt sowohl für langjährige Kenner der Band als auch für neuere Mitglieder der ständig wachsenden progressiven Musikgemeinde macht.

ush's eighth studio album, Moving Pictures, was released in 1981 and features the Top 10 hits "Limelight" and "Tom Sawyer." 40th Anniversary Edition LP cut at half-speed on 180-gram vinyl and wrapped in a premium tip-on gatefold jacket with one of six hand-drawn lyric sheets by Neil Peart.
Released in 1981 at the dawn of the age of sequencing and synthesizers, Moving Pictures has one musical foot firmly in the 70's and the other stepping into the future of recording technology. This global smash includes the ultimate prog-instrumental, YYZ; the band's ode to live performance, Limelight; Witch Hunt, which explores socio-politics; and Tom Sawyer, which captures the feelings behind teenage alienation more succinctly than any song that has since followed, save Nirvana's Smells Like Teen Spirit. This recording is considered by many to be the absolute best Rush. - Jodi Lutz

This product is a Record Store Day exclusive title and is not available to pre-order.

To buy in-store: 8am, 20/04/2024 (Record Store Day).
To buy online: 8pm, 22/04/2024. (Subject to availability).
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Manhattan Fire is a collection of demos from prolific Brooklyn outfit The Men, revealing early versions of the tracks that would go on to make up their 2023 LP New York City – described by Pitchfork as “an unpretentious garage-punk racket … summoning the snottiest ghosts of the city’s punk past.”

Recorded in mono and with a drum machine by founding members Mark Perro and Nick Chiericozzi over lockdown in late 2020 – before being shelved for the full-band, live-to-tape affair of the final LP – Manhattan Fire shows a new side to those songs that's even more primitive and rough around the edges, as well as previously unheard tracks that never made it onto the album.