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The third album by RICO FRIEBE is a clearance, an outcry, an universe within itself, a hope and a message at once – sending out ANTHEMS FOR A LOST GENERATION!

After his preceding albums of intimacy WORD VALUE and FACES MEET, based on personal tragedies and the accompanying struggles, RICO FRIEBE has something to tell to a whole generation and delivers ten radiant and distinct top-notch productions that find a most modern and futuristic sound within different styles of pop music while his soft and emotive voice is hovering above all.

Originally, ANTHEMS FOR A LOST GENERATION has been recorded as an acoustic double-album, but RICO FRIEBE threw it all out, wrote new songs and found a truly more fitting sound after he realised that there could only be one musical outcome to tell these stories: Songs like BAD SEED, I LIKE MEMES, REDO, GAMES or LAZY, BORED AND SAD are milestones of capturing a complete zeitgeist and beyond. Each line within the lyrics is taken from close and personal experiences and interactions that made him undergo a whole spectrum of emotions, creating deep worries and sadness, but also a far hope.

Feel lost? Be found! With ANTHEMS OF A LOST GENERATION...

LIMITED RED COLOURED VINYL!
REKORDER is "a kind of retrospective of myself", says M.RUX about his second, long-awaited solo album. For over 10 years, Marten Rux aka M.RUX appears as a DJ, producer, editor, remixer and multi-instrumentalist all over the world and has developed an idiosyncratic sound that opens up subtle fields of tension: M.RUX mixes a sound between experimental sound design and hooklines that stay in your ears forever. Between wild percussion and contemplative harmonies, between ecstasy and meditative calm. In his DJ and live sets, M.RUX usually steps up to the controls with a smile, discreetly bobbing his head, while the audience goes wild. He circumnavigates clichés with trustworthy certainty and develops his very own guiding threads in his selection beyond BPM or genre straitjackets. One constant is his warm, often stoically slow kick drum, which holds all that playfulness together. REKORDER is a manifestation of this typical M.RUX sound. Similar to his concept album "Vermonische Melodien" from 2020 (on the Pingipung label), the artist's curiosity is directed towards the musical visions of the past. When new music technology projected great visions of the future and when new sounds had not yet solidi ed into clichés. REKORDER refers to the recording device, spelled in a German way, because most of the recordings were made in Germany (and in England as well). Phonography is a miracle that has only been around for 150 years: Technology gifts upon us prosthetics for remembering sound. Every recording is a process, and every playback a new performative act. Recordari (Latin) is a beautiful word. It literally means to take something to heart (cor) once again (re-). This doesn't just refer to remembering, but also to a ponderous, loving, sometimes doubtful contemplation. It is a perfect headline for M.RUX’ approach to processing sound. REKORDER draws deeply from its own archive, which has ourished quite splendidly during the pandemic. Multi-instrumentalist M.RUX mixes his own recordings of banjo, guitar, auto-harp, synths, percussion and jews harp with fragments from sessions with friends that have accumulated since 2020. They unfold in the process of re-listening in the mix and transform into a solid musical tapestry. A typical gesture for this album? M.RUX bows deeply to the history of pop music - especially the blues and its melancholy, coolness and shuf ing groove. The harmonic framework of the album is based on blues scales throughout. Instead of conveying blue emotions via lyrics or the tone of the voice, as the original genre does, the synthesizer takes on this role on REKORDER. With his sound design, M.RUX achieves an ecstatic sorrow in his melodies, this gurgling portamento that is reminiscent of R&B (or even the ingenious title melody of the series "Bojack Horseman”). If voices are heard on REKORDER, then as hypnotic fragments that guide us through the groove as conjunctions: "Because...", says the voice in the track of the same name. That's enough. There are no lyrics, no literal weariness, no love-songs or storytelling, REKORDER processes all of this into timbres and groove as vessels for the album’s individual, contemplative melancholy. Never forgetting, with a gentle smile, to swing a leg.

Originally released in 1993 on DJ Phantasy’s Liquid Wax label, it has now been repressed in conjunction with Vinyl Fanatiks on coloured vinyl.

Ment 4 Bass is a duo comprising of DJ Phantasy and DJ Lee, two legends of the game, linked together by Jack Smooth, who at the time worked for Basement Records, where Lee worked behind the counter and Phantasy produced in the studio.

This record, as with most of the Liquid Wax backcat, is sought after on original press so we are delighted to be able to get this repress out to you in a high quality gloss Liquid Wax housebag and white inner sleeve. Released on either red, white or blue 180g heavyweight vinyl. LIMITED PRESSING.

2024 Repress

"I've never met Rod Modell (Deepchord) in person, but we have met through music. He found an obscure cassette of Chi music (from '86), sent it to Astral Industries and paved the way for the release (30 years later) of 'The Original Recordings' in 2016. Since then, we've exchanged ideas and good music. I sent Rod a preview of 'The Kallikatsou Recordings' - he really liked it - and here came the idea for a remix of 'Lanterns'. I started working on some random, lo-fi samples from Youtube, using Audacity, perhaps the simplest way of producing loops and samples. It's the only computer based system that feels like the tape recorders I used to work with. I sent the first sketches to Rod on Facebook, but they ended up in the wrong inbox. I forgot about them, but months later he came back saying he loved them. I decided to go back to working on them, maintaining the lo-fi approach. I began manipulating the samples: time-stretching, tempo and pitch-shifting, mixing different layers and adding old-school monophonic old speaker' effects, delays and loops. I used a few field recordings, voices and samples from my early ambient cassettes, and they matched. Ario from Astral Industries got involved and the experiment turned into a plan - a vinyl release - 'Red Lantern at the Kallkatsou''.

Western Approaches, a fitting title for a band who's spent much of the last two years living their American dream, however you'll find its origins are a lot closer to home.

An old World War II Naval base in Liverpool city centre shares the same name and it's no coincidence. The album was conceived on the docks, a new location for the band and again much closer to home for the boys.

It seems the further afar they play the tighter their grip on their roots become, playing their biggest headline show to date in Bootle a small town in North Liverpool where some of the lads grew up.

Infinity Machine is a duo comprised of Juan MacLean - as in the Juan MacLean, longtime DFA traveler - and Gee Dee, also known as Greg Droggitis, a producer and DJ based in Brooklyn and 1/3 of the Earth Beat DJ troupe. The project name stems from a series of gatherings the two began hosting in various private spaces around New York City shortly after lockdown, though that description is a bit innocuous for the journeys traveled by its attendees. These events, billed as "psychedelic dance ceremonies" lasting 8 or 9 hours, began with a sound meditation to vibrational and acoustic instruments before eventually segueing into a "dance" soundtracked by a DJ set from Juan and Greg. Something clicked - that ceremonial tea! - and so Juan and Greg began playing and recording in their studio using the same approach: improvisation with equal attention placed on traditional acoustic (flute, guitar, gong) and more contemporary electronic (Yamaha DX-7) sounds. After awhile, there was literally three albums worth of material, each of them a voyage into the warm, liminal space between new age, ambient, drone and psychedelia. None of those genres quite fully describe what's across 001, 002, and 003 - available from DFA digitally and on a very limited run of cassettes (150 each!) - but if you've read this far then you're either the right kind of curious or just forgot what you were doing.

WRWTFWW Records is happy to announce the first-ever physical release of Louisiana-based composer and producer Jammin’ Sam Miller’s full HD re-creation/restoration of the beloved Super Metroid video game soundtrack. The limited biovinyl double LP is packed with 27 tracks and features an exclusive artwork by French illustrator Pierre Thyss, as well as an obi strip.

Composed by Kenji Yamamoto and Minako Hamano, the soundtrack for 1994 SNES exploration / action-adventure / sci-fi / alien video game Super Metroid has always been a fan-favorite. A true masterclass in music storytelling, it beautifully evokes the epic and eerie adventure of the game’s protagonist Samus Aran with superb use of atmospheric sounds, space-operatic arrangements, rumbling bass, oppressive techno-futurist moods, tribal drums, and airy synth themes, admirably balancing the ominous feel of a dark menace and contemplative, even soothing, ambient soundscapes.

Jammin' Sam Miller assiduously recreated the soundtrack note by note, by finding the original equipment used to create it, translating the MIDI into a modern studio context, adding in keyboard samples, and re-mixing and re-mastering the whole score. He explains: "This was made possible by locating the original instrument samples from workstation keyboards and drum machines before they were put into the game and rebuilding the soundtrack from the ground up, applying some modern mixing techniques along the way to lift the veil of 16bit compression and create an updated listening experience."

Super Metroid is pressed on biovinyl, a sustainable alternative to traditional vinyl. Biovinyl replaces petroleum in S-PVC by recycling used cooking oil or industrial waste gases, resulting in 100% CO2 savings in bio-based S-PVC production. Furthermore, it is 100% recyclable and reusable, embracing the circular economy ideology.

Bella Brown & the Jealous Lovers Unveil "Soul Clap" LP: A Fusion of Retro Soul/Funk and Modern Grooves

Los Angeles-based retro soul/funk sensation Bella Brown & the Jealous Lovers are set to ignite the music scene with their highly anticipated LP, "Soul Clap." Born from the creative genius of Grammy Award-winning vocalist/songwriter Carol Hatchett, Bella Brown emerges as a diva with a fiery stage presence, drawing inspiration from the likes of Tina Turner and Sharon Jones, and channeling the empowered female leads of 70s Blaxploitation films. Led by producer/bassist/songwriter Daniel Pearson, The Jealous Lovers assemble an impressive ensemble of A-list musicians, boasting pedigrees that include names like Mick Jagger, Elton John, Whitney Houston, Prince, and Stevie Wonder. This musical collective is on a relentless quest to redefine the boundaries of music, infusing soul and funk with elements of jazz, rock, and Afro-Caribbean influences.

The essence of "Soul Clap" is derived from the cultural phenomena it is named after—a shared and improvised rhythm-making by a collective. The LP, spanning 40 minutes of pure musical bliss, invites the audience to immerse themselves in the groove and discover their individual truths in the music.

The title track, "Soul Clap," and the infectious "Living Proof" serve as funky dance bangers, echoing the spirit of Bohannan and The Tramps. These tracks, punctuated with jazzy improvisations and soulful horn arrangements, are simple yet joyful expressions of shared humanity and self-love.

"Coming For You" is Bella's audacious response to the soul/funk classic Apache, boldly announcing her and The Jealous Lovers' arrival on the modern soul landscape. "I Found You" takes a northern soul love song approach, reminiscent of Gloria Jones with a touch of modern influence, giving it a distinct Amy Winehouse feel.

Bella Brown seamlessly weaves social commentary into her art. "Bang Bang Bang," an uptempo, funky Motown groove, cleverly uses Curtis Mayfield's sense of sarcasm to reflect on American gun culture. "Lady Time" takes a driving afrobeat groove, employing brassy horns and reggae-like echoes to address the issue of homelessness.

However, the album is not without its lighthearted moments. "Fast As Lightning" celebrates a cleaner future by imagining Jimi Hendrix joining Ike and Tina Turner's band to create a classic Chuck Berry car song. "There Is Love" blends horns, strings, and vocals reminiscent of The Stylistics over a Chi-Lites style rhythm section, to create a lush message of support to those among us that may find the world a bit overwhelming at moments. Finally, "What Will You Leave Behind," is a revamped version of the group's sold-out vinyl 45 release. This track serves as a powerful call to action for a better future, delivered over a straight-up Motown groove with a funky Sly Stone finish.

Bella Brown & the Jealous Lovers have crafted an album that transcends genres, embracing the roots of soul and funk while pushing musical boundaries.

"Soul Clap" is a celebration of individual truths, shared experiences, and the timeless power of music.

Rated 5/5 in UK Music Republic Magazine

Longtime enthusiasts of ambient music have much to celebrate as Rafael Anton Irisarri's cherished out-of-print cassette, "Midnight Colours," returns in a meticulously remastered edition and makes its inaugural debut on vinyl. The significance of this album's announcement is accentuated by its historical resonance, coinciding with the same day in 1952 when the world bore witness to the first-ever test of the hydrogen bomb.

"Midnight Colours" is far more than a mere album; it's an exploration of the enigmatic relationship between humanity and time. Conceived as a sonic interpretation of the Doomsday Clock, which symbolizes the world's existential vulnerabilities, Irisarri's work beckons listeners to contemplate the gravity of our existence and the delicate balance that envelops it.

"I wanted to capture the essence of humanity's relationship with time, both the anxiety and the serene beauty that coexists within the shadows of the night," explains Irisarri. "The vinyl format adds a tactile dimension to the experience, inviting listeners to physically engage with the music."

Known for his contributions to the ambient and electronic music genres, Irisarri often explores themes of introspection, nostalgia, and the interplay between sound and emotion.

Recorded in 2017, when the Clock was at 2½ minutes-to-midnight (and at the time, the second-closest to midnight since the Clock's inception in 1947), "Midnight Colours" permeates with the melancholy of memories resurfacing as one approaches the end of life: the regrets, the closure, the uncertainties, the anxieties.

Originally released as a limited tape on the beloved Atlanta-based label Geographic North, "Midnight Colours" swiftly garnered praise and acclaim within the ambient music sphere. Now, with this newly remastered edition on his own Black Knoll imprint, fans, both longstanding and newfound, can rediscover the album's captivating beauty in unprecedented clarity and depth.

"I've wanted to release 'Midnight Colours' on vinyl since it first came out, and I'm thrilled to finally be able to. The remastering process, brilliantly done by Stephan Mathieu, has breathed new life into the work, and I'm eager for listeners to experience it in this format."

The reissue of "Midnight Colours" features band-new artwork and design by the renowned Mexican visual artist Daniel Castrejón. A frequent collaborator and friend of Irisarri, Castrejón's imagery impeccably complements the album's mood and themes, extending a compelling invitation for listeners to explore its aural world visually.

This landmark release serves as a testament not only to Irisarri's enduring impact on the ambient music genre but also as a long-awaited gift to those who have patiently anticipated the album's vinyl debut.

COLOURED VINYL RE-ISSUE OF THE 12TH STUDIO ALBUM BY PROG-METAL FOREFATHERS FATES WARNING Deluxe RED VINYL edition of this 2016 release, the twelfth studio album from American progressive metal veterans Fates Warning. They are one of the most successful US-based prog bands who have sold over a million albums worldwide. Right from the impressive first minutes of this album, Fates Warning proves itself to be one of those rare veteran bands capable of delivering new material as poignant and powerful as their many high points of the past. Fates Warning rose to international fame in the 1980s and was ranked as one of the early "flagship bands of progressive metal" along with Queensrÿche and Dream Theater, who were responsible for creating, developing and popularizing that genre.

Dutch synth-wizard Nadia Struiwigh brings her eclectic live approach to Blueprint Records.á On the "Voxis Ohlun EP", Struiwigh reflects her profound command over synthesis and sequencing, crafting upfront techno with a vigorous, nostalgic feel.

Nadia Struiwigh, the Dutch artist rooted in Rotterdam and currently based in Berlin, has carved a unique niche in the electronic music scene.á Her genre-defying compositions, blending ambient, techno and electro, exhibit her signature ethereal and melodious production style, with a discography gracing acclaimed labels like Central Processing Unit, Nous'klaer, Dekmantel, Clone and InFinÒ.á Inspired by the Warp school of electronica, her live performances (ranging from immersive ambient to kinetic techno) are a testament to her technical prowess and emotional connection with her audience.á A versatile DJ and live act, she graces both concert halls and strobe-lit club sessions, curating sets that span from driving techno to deeper, emotive realms, earning her residencies at venues like Tresor.á Her versatile expertise extends beyond music; she collaborates with pioneering music brands such as Roland, Korg, Teenage Engineering, Arturia and others, embodying her reputation as a leading tech enthusiast within the industry.á Her contributions to esteemed platforms like Resident Advisor, Phantasy, Bleep, Slam Radio and Red Light Radio underscore her adaptability and prowess across a wide spectrum of electronic music, further solidifying her multifaceted presence in the field.

"Voxis Ohlun" invites you into a mesmerizing journey through the enchanting landscapes of the '90s, blending diverse musical influences seamlessly.á The focus here is on 4x4 dancefloor music, adorned with a tantalizing hint of breaks and pulsating rhythms, and a sprinkle of fairyland allure.á Crafted using only hardware, predominantly the beloved Korg Electribe MX, the sounds resonate with the essence of that era.á Each track unfolds like a chapter in a wondrous tale, interweaving nostalgia with a contemporary energy, ensuring an immersive experience.

The Hunger Games: The Ballad of Songbirds & Snakes is the highly anticipated new film in The Hunger Games movie franchise and is based on the 2020 same-titled novel by Suzanne Collins. This 2023 movie is the fifth installment and serves as a prequel, as the story is set 64 years before the events of the first movie. Its plot follows the events that eventually lead a young Coriolanus Snow on the path to becoming the tyrannical leader of Panem.

The music from the previous films went viral, especially with “The Hanging Tree” sung by Jennifer Lawrence and composed by James Newton Howard. Howard makes his return to the franchise after scoring the original four films. Featured throughout the album's 40 tracks is global superstar pianist Yuja Wang.

The vinyl edition of The Hunger Games: The Ballad of Songbirds and Snakes contains 37 orchestral tracks by James Newton Howard and 3 piano solo tracks by Yuja Wang composed by Howard. It's limited to 1000 individually numbered copies on red coloured vinyl, housed in a gatefold sleeve and includes a 4-page booklet with movie stills.

Edo.G's latest Album FreEDOm couldn't come at a better time in history as we are in an age where it seems like our freedoms are slowly getting taken away with a corrupt dictator in office.

FreEDOm has a sound that is reminiscent to one of your favorite Hip-Hop albums with songs that touch every part of your life. Edo.G's conscious lyrics over banging beats are bound to resonate and inspire. The song "Smoke" features Masta Ace, marking their first collaboration since the critically acclaimed 2009 "Arts & Entertainment" album. “Boom”, Produced by Sir Williams is the first music video from the album that sheds light on gun violence and the affect it has on victims, families and communities. FreEDOm is Edo.G’s 15th studio album produced by up and coming producers Torchbars, Kelz With Tha Heat, Sir Williams, Geronimo X, DJ Scienz & more.

If the album wasn't enough, the Digipak CD includes a full-length documentary based on the ED O.G & Da Bulldogs hit song "I Got To Have it". This ground-breaking documentary is a true artistic masterpiece on how one song can change your life. This is an in-depth look into Edo.G's journey through the music industry being dropped from a major label to finding his way independently. It highlights his life and career from his early teenage years to the present day. Through touring the world and making a positive impact with his music, Edo.G’s continued relevance in Hip Hop is not to be questioned.

One year after their Rock'n Folk (Fr) and Maximum Rock'n Roll (USA) acclaimed debut single, Paris based punk band Cheap Riot is returning with their first long player.

Sharping their new songs while heavily touring in mainland Europe, sharing the bill with bands like Hinds or Cosmonauts, Cheap Riot recorded this first album in a week with French analog wizard Lo' Spider. If the band will certainly not play at your prom, Ballroom Portrait is showing us red-hot catchy songs, remembering us class of '77. As any good punk record should be, Ballroom Portraits is heavily political, sarcastic and raging, but they never forget to bring up the melodies during the rampage.

In our opinion, Riot is still the best way to solve problems, especially when it's a Cheap Riot.

For fans of : Television Personnalities, The Undertones, The Clash, Nerves, Dogs

Who exactly is Sauce Walka? He is DAT BOY DEN. Often considered one of rap’s biggest enigmas for his larger than life personality yet equally sharp and grandiose pen game, the Houston based rapper aims to put a stamp on his name with his newest studio album, DAT BOY DEN. The 18 track album features appearances from popular artists such as Peezy, BIG30 & Freeway, as well as fellow Houston-based artist Money Man & The Sauce Factory labelmates Peso Peso, Sauce WoodWinnin, Sauce Gohan & 44 Mike Deezy. Previous notable collaborations include artists such as A$AP Rocky, Bun B, Chief Keef, Lil' Keke, Maxo Kream, Migos, Slim Thug, Travis Scott, Trinidad James, and XXXTentacion. pPressed on Red & White Split Vinyl, housed in a widespine jacket.

Key Marketing/Selling:
Sauce Walka is an incredibly versatile rapper and while his image may be more street leaning, he is an incredibly gifted lyricist with an unmatched pen game and can outrap some of the more lyrical rappers
Founder of the popular Houston based label, The Sauce Factory
Popularized the term “Drip”
Made headlines in 2015 for releasing a diss track aimed at Drake called, “Wack 2 Wack,” over appropriating Houston culture
Sauce Walka has over 1.3M monthly listeners on Spotify
Supporting Conway the Machine on the WON’T HE DO IT tour from September-October 2023 and recently collaborated on the standout single, “Dangerous Daringer”
Sauce Walka is an extremely viral personality and very active on social media, and willing to put in the work to support his products
Previous notable collaborations include artists such as A$AP Rocky, Bun B, Chief Keef, Lil' Keke, Maxo Kream, Migos, Slim Thug, Travis Scott, Trinidad James, and XXXTentacion

C-thru - The Otherworld is a collection of introspective cosmic-leaning dance music that gives a healthy nod to the golden era of trance, ambient, and down- tempo from Austin, Texas based producer Jesse Edwards. Inactive for several years, these 10 tracks mark a new chapter for Jesse Edwards.

Previous works include his well received psychedelic project, Red Morning Chorus, that included Boards of Canada amongst its fans. Edwards began his musical journey in the late 90s playing shoegaze and experimental music with Jessica Bailiff (Kranky). The pair collaborated on several albums together including works with Flying Saucer Attack, His Name is Alive, & Odd Nosdam (Anticon).

Dynamic dancehall singer Anthony Johnson began his career in the mid-1970s, cutting a few sides for Channel One before he joined the group Mystic I who cut some great work for Lee Perry and Linval Thompson before disbanding, leading to the hit material Johnson cut for Jah Thomas as a solo singer. Togetherness dates from 1993, when Johnson was long based in London, but his singing kills remained on par as in his heyday, the album a mix of ballads, pop adaptations and songs of dancehall appeal, the soave production values and one-off vocal style making it popular in Brazil and other territories. A lost gem, ripe for rediscovery!

Muireann Bradley is a young blues, ragtime, roots and folk guitarist and singer based in Ballybofey in County Donegal Ireland. “This is my first album. Most of these tunes were originally recorded by the great blues men and women who were making records from the 1920s and 1930s right up in some cases to the early 1970s. I have also found inspiration for the renditions recorded here in the playing of some of the musicians who began recording this music in the 1960s and later, and who in some cases learned at the feet of the greats. Many of these guitarists played pivotal roles in the 1960s blues revival and subsequent “rediscovery” of many of the greats of country blues. I grew up steeped in these old blues in the hills overlooking the valley of the River Finn just outside the town of Ballybofey in County Donegal. My father would play this music constantly at home and wherever we went in the car and talk about it endlessly whether anyone was listening or not, telling stories about the lives of these musicians as if they were legend, mythology or the evening news. My father could of course play all this stuff on guitar, I remember watching him when I was very young and thinking “I want to be able to do that”. When I was nine he agreed to teach me and bought me my first little travel guitar. I worked hard to learn how to play but as time wore on I seemed to have less and less time to practice as I became more and more invested in the combat sports I was regularly training and competing in. Then in March 2020 the first Covid lockdowns happened and all contact sports were shut down. I was lost for a while but soon found my way back to the guitar. I was now listening, playing and practicing with a new intensity and focus. In a very serious moment, I wrote out a list of tunes I was going to learn. The first tune on that list was Blind Blake’s “Police Dog Blues”. I’m not sure now how long it took to get that arrangement together but when it was ready we videoed me performing it and posted it on YouTube. It ended up getting a lot of attention, I remember my parents being quite shocked and soon after that Josh Rosenthal got in touch… and here we are! Each individual track on this album was recorded live in the studio and represents one entire take with me singing and backing myself up on guitar simultaneously. Most are either first or second takes. Nothing has been added or taken away, no overdubs or modern recording tricks of any kind have been used at all so at least in some respects this album has been recorded in the same way as those classics of the 1920s and 1930s

Silver Biplanes are Tim Vass (one half of Razorcuts - the Creation-signed indie pop darlings) and Vanessa Vass (singer of Radcliffe jangle pop favourites The Melons. "A Moment In The Sun" is the debut long player by silver biplanes, a melodic indie band based in Bedfordshire, England. The band features wife-and-husband team Vanessa Vass and Tim Vass alongside drummer Rob Scott and the album is the pinnacle of a musical career which has previously seen Vanessa and Tim release songs on no fewer than 30 different labels between them! The band are lifelong fans of the highways and bi-ways of music and the album draws upon a wide range of influences. It's a heady mix of choruses, hooks and catchy tunes in which you'll hear traces of psychedelia, post-punk, krautrock and more. Tim was bassist and lyricist in cult indie band Razorcuts, co-writing all of their songs. Razorcuts releases regularly featured in the higher reaches of the independent charts throughout the late 80s, and included two top five albums recorded for the famous Creation label. Both albums were reissued in sellout deluxe vinyl editions in 2020. Razorcuts continue to appear on numerous compilations and their influence is often cited in books and internet articles. Tim has also played in Red Chair Fadeaway, Dandelion Wine and the Forever People. Vanessa was the singer in 90's indie band The Melons who are probably best remembered for their two legendary live sessions on Mark Radcliffe's Radio 1 show. The Melons released 6 singles and were regularly featured in the British music press.

Red Marbled Vinyl

Berlin, Funkhaus based electronic record label and music studio Bright Sounds enters their 10th year of business in 2023. And this marks the perfect occasion to team up with another long going techno institution, Skudge. Starting as a record label curated by two Swedish gearheads releasing their own studio jams in the late 00's, Elias Landberg is now recognized as one of the most steady techno producers of modern times.

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.

After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.

"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".

With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.

For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.

"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"

SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.

It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.

"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"

His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).

“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."

Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.

Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.

Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.

A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.

Make sure to catch Kid Francescoli on his next world tour to have a good time.

This fifth studio effort from French heavy psychedelic stalwarts MARS RED SKY is a genuine conceptual piece of work skilfully designed to take the listener on a journey through a shifting, unpredictable and even utterly disconcerting sonic universe. Bordeaux-based trio explore progressive and post-metal territories with boundless inspiration. Their original signature of jagged vocals and thundering rhythm is spiced up by drones and various mid-kraut rock and mid-gothic effects. The atmospheres and settings are finely crafted, with Julien Pras's voice adding a delicious pop languor. The music is the master of the narrative here, absorbing all the components of the album and shaping them into a kind of reversible allegory, as appealing as disturbing. The tour de force of 'Dawn Of The Dusk' lies in its ability to carve out a unique creative sphere in which you can't help but marvel.

This fifth studio effort from French heavy psychedelic stalwarts MARS RED SKY is a genuine conceptual piece of work skilfully designed to take the listener on a journey through a shifting, unpredictable and even utterly disconcerting sonic universe. Bordeaux-based trio explore progressive and post-metal territories with boundless inspiration. Their original signature of jagged vocals and thundering rhythm is spiced up by drones and various mid-kraut rock and mid-gothic effects. The atmospheres and settings are finely crafted, with Julien Pras's voice adding a delicious pop languor. The music is the master of the narrative here, absorbing all the components of the album and shaping them into a kind of reversible allegory, as appealing as disturbing. The tour de force of 'Dawn Of The Dusk' lies in its ability to carve out a unique creative sphere in which you can't help but marvel.

Amsterdam based indie rock band POM made their debut in 2019 with their immediately successful single Down The Rabbit Hole, which has now streamed over 2 million times.

After releasing a number of singles and an EP, their debut album We Were Girls Together will be released on November 10 via Mattan Records.

POM brings together a balanced sound of raw guitar rock on the one hand and a sense of catchy melodies on the other. With their fresh and idiosyncratic style, a combination of Britpop, punk and garage rock, their sound can best be described as fuzzpop.

They were previously named by 3voor12 as one of the 12van3voor12 talents and tipped as a must-see act at Eurosonic Noorderslag.

Amsterdam based indie rock band POM made their debut in 2019 with their immediately successful single Down The Rabbit Hole, which has now streamed over 2 million times.

After releasing a number of singles and an EP, their debut album We Were Girls Together will be released on November 10 via Mattan Records.

POM brings together a balanced sound of raw guitar rock on the one hand and a sense of catchy melodies on the other. With their fresh and idiosyncratic style, a combination of Britpop, punk and garage rock, their sound can best be described as fuzzpop.

They were previously named by 3voor12 as one of the 12van3voor12 talents and tipped as a must-see act at Eurosonic Noorderslag.

MARKING 30 YEARS OF THE CLASSIC SECOND ALBUM FROM THE SWEDISH MELODIC DEATH METAL PIONEERS - PRESENTED ON LIMITED BLUE MARBLE-EFFECT VINYL Sweden's At The Gates formed in 1990 & the Gothenburg based group released 4 highly successful & influential studio albums, beginning with the revered debut, 'The Red In The Sky Is Ours' which originally surfaced on the Peaceville imprint, Deaf Records. After a quick rise through the metal ranks, At The Gates broke up in 1996, only to reform in 2007 to cement their legacy further as one of the greats of Scandinavian death metal. Regarded as a highlight of the band's career by many who followed them from their earliest incarnation, 'With Fear I Kiss The Burning Darkness', was originally released in 1993. The album was known for its breakthrough style at the time, with highly complex melodic arrangements retaining a dark & brutal edge mixed with slight black metal overtones & poetic, philosophical lyrics accompanying the songs. 'With Fear I Kiss The Burning Darkness' was recorded at the iconic Sunlight Studios (Entombed, Dismember) & produced by the equally legendary Tomas Skogsberg. The album also notably featured a guest appearance by Matti Karki of Dismember. Highlighting 30 years since release, this edition of 'With Fear I Kiss The Burning Darkness' is presented on limited blue marble vinyl, featuring the original artwork.

Can't Stand The Rezillos is the debut studio album by Edinburgh-based punk band the Rezillos and was released in 1978. The album includes the UK top twenty hit "Top Of The Pops", as well as several cover versions of 1960s songs: "Glad All Over" (Dave Clark Five), "Somebody's Gonna Get Their Head Kicked In Tonight" (Fleetwood Mac), and "I Like It" (Gerry and the Pacemakers). It was produced by the acclaimed Bob Clearmountain in collaboration with Tony Bongiovi.

The debut album received positive reviews from the UK music magazines and reached number 16 on the UK Albums Chart. The Rezillos split four months after the album's release, and the band did not make another studio album until their reformation in 2001 and the release of Zero in 2015. In March 2003 Mojo magazine ranked the LP in its list of Top 50 Punk Albums.

Can't Stand The Rezillos is available as a limited edition of 750 individually numbered copies on translucent red & black marbled vinyl and includes an insert.

re:discovery records proudly presents the first vinyl issuing of Off the Sky 'Gently Down the Stream'. Originally released in 2006 on the cult ambient label Databloem, it has grown over the past 15 years as one of the seminal releases in their discography. Fans of glitch styled rhythm based ambient like Shuttle 358, Mille Plateaux, Thinner, 12k records and later Force Inc to minimal and dub fans of the Cologne style should really be taken by this beautiful sounding album. Like the title suggests, expect to drift off to a desert island to this beautiful serenade. Off the Sky (Jason Corder) is a veteran of the ambiant scene. With over 25+ albums to his credits, come listen to one of hisearliest in his discography. A magical album to chill-out to. Bring back the chill-out rooms!

Vocal Shades And Tones is a miraculous leftfield library classic from the genius mind of celebrated UK composer/singer/vocal arranger Barbara Moore. It's a heavenly groove-based blend of jazz, Latin, soft-psych, folk-funk and gospel soul. Recorded for the legendary Music De Wolfe in 1972, it's an audacious start-to-finish listen, as dizzying as it is dazzling. It's a perfect snapshot of a musical era, supported by Moore's glorious vocal arrangements. Widely regarded among collectors, DJs, and lounge/easy-listening acolytes as an absolute essential it is viewed as the holy grail by many production music heads, rarely appearing for sale and disappearing in a flash when it does. Indeed, originals now go for over £300 and it's easy to see why. Just one of the reasons why this fresh Be With reissue, part of a wider De Wolfe reissue campaign, is so utterly crucial.

Racing out the gate, the driving "Hot Heels" is a bright, sophisticated scat groove which sounds Brazilian, richly produced as if coming by the hand of Arthur Verocai. Yes, *that* good. It's followed by "It's Gospel" which is, er, a wonderfully slow and deeply soulful gospel treasure. The appropriately monikered "Steam Heat" is a darker, breathy gem, one for salacious crates and one of the record's most infamous tracks. "Fly Away" is pastoral West Coast soft rock, very much in conversation with John Cameron and Keith Mansfield's epochal KPM recording, Voices In Harmony. "His Name Was" is a stop-you-dead-in-your-tracks Beach Boys accapella church-organ stunner, whilst "Swing Over" is another carefree, richly produced sun-dappled smasher. The gentle Bossa and sunshine soul of the aptly-titled "Touch Of Warmth" closes out a virtually perfect A-Side.

The B-Side opens with the easy grace and dramatic build of "Voice Force Nine". The jaunty "Very Fine Fellow" may be the only track to slightly grate so we advise heading to the slower, moody "Shades-Tones", eminently more compelling with sparkling, hypnotic piano throughout, underpinning the gorgeous wordless vocals. Just beautiful. It was sampled by Redman for his Method Man-featuring "Do What Ya Feel" on the great Muddy Waters. We're back in Brazilian territory with the cool, uptempo "I'm Feather" before swooning to the warm, relaxed "Drifting", another total highlight which was famously sampled by Koushik on his legendary remix of Madvillain's "America's Most Blunted (Doom's Verse)". The penultimate track, "Take Off" is a bright, organ lounge groove before this remarkable set is rounded out by the beaty "Fly Paradise". It's so so good, it sounds like Rotary Connection fronted by The Mamas & the Papas. As noted in a recent Guardian article on Moore's life, "there is a plushness and electricity in the tight vocal harmonies that spring out, sung with the precision of cathedral choristers decades before Auto-Tune." Amen.

In the 1960s, Barbara Moore was a member of Top of the Pops’ resident vocal-harmony group, The Ladybirds and sang backing vocals for Dusty Springfield’s TV show. Her own outfit, the Barbara Moore Singers, were regulars on TOTP, singing with Jimi Hendrix when he performed "Hey Joe" live in Lime Grove Studios. An important detail for Moore was the shepherd’s pie she bought Hendrix when she found him alone, looking emaciated, near the BBC canteen. By 1970, she was working as a session singer for De Wolfe and, by 1972, was composing her own tracks for De Wolfe and working within their tight creative strictures. Each short track had to evoke an obvious mood and theme, with no significant key or tempo changes. Her response, this very album, managed to stay between the lines while cohering as an overarching artistic masterpiece.

The audio for Vocal Shades And Tones has been carefully remastered by Be With regular Simon Francis, ensuring this release 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, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

• 180 GRAM AUDIOPHILE VINYL
• SOUNDTRACK FROM THE BRAND NEW NETFLIX
ORIGINAL THRILLER MINI TV-SERIES LIEBES KIND (DEAR CHILD)
• SCORE BY THE OSCAR-WINNING COMPOSER
GUSTAVO SANTAOLALLA (BABEL, THE LAST OF US) & JUAN LUQUI (THE LAST OF US, FINCH)
• LIMITED EDITION ON CRYSTAL CLEAR VINYL



Liebes Kind is the 2023 Netflix psycho-thriller series, based on the novel of the same title by Romy Hausmann. The story follows a mysterious woman’s escape from her harrowing captivity, which points investigators toward the dark truth behind an unsolved disappearance

13 years earlier. Liebes Kind starts where traditional thrillers end with redemption, but the true extent of this nightmare is revealed with the arrival of Lena’s parents at the hospital the same night.



The series is accompanied by a captivating score by the critically acclaimed duo Gustavo Santaolalla and Juan Luqui. The two released their Original Soundtrack this September with the help of Robert Messinger and Sergio Chiappetta. The globally renowned multi- instrumentalist, composer, and producer Santaolalla is also known for his Academy Award-winning scores for Babel and Brokeback Mountain, as well as the legacy score of The Last Of Us.

Despite all the dark elements of the series, the two composers were able to also capture the fragility of the characters. The Original Soundtrack for Liebes Kind is available as a limited edition on crystal clear vinyl.

For The Nude Party, nearly a decade has flown by in the blink of an eye. In that time, the New
York-based band has released a pair of well-received albums, an EP and played numerous shows.
The band has historically worked with a producer to help them create a distinct sound in their records
but with their latest effort, Rides On, the band decided to handle production duties by themselves. The
hands-on approach allowed the band to have as much fun creating as they ever had at any other point
in their career. They recorded over 20 songs, including some that dabbled in electro-pop and
stripped-down country before settling on the final 14 songs containing the best elements of ‘70s-driven
blues rock. The relaxed vibe of the session also unleashed a diverse sonic texture compared to their
previous releases. Sonically, the album is reminiscent of Sticky Fingers-era Stones, but the lyrics are
mini-vignettes that embody the spirit of what The Nude Party are going for — and their growth as a
band. Rides On, the band confidently says, is their best record. It’s also the most homegrown and
organic record The Nude Party has created to date.

A Flor de Piel, the new album from singer-songwriter and composer Maria Monica Gutierrez (aka Montañera), is a meditative journey of self-discovery across oceans, time, and the traditional confines of genre. Originally from Bogota, Colombia, Gutierrez began the album as a way to explore her identity after a difficult move to London left her feeling untethered in a strange new place. The result is an examination of the immigrant's experience through a rich sonic lens of ambient pop textures, inspired by sources as disparate as Colombian traditional music, traditional Senegalese music, and whalesong from the depths of the Atlantic. The album begins with the title track "A Flor de Piel," Gutierrez's indelible vocals floating above a vast expanse before being joined by deep, silky bass and the plucks of a koto-like stringed instrument. "The song was inspired by traditional Japanese music," Gutierrez explains, "It's about making my heart a little lighter; I know that inside of me I can be as light as mist in heat, I can be fragile as the song of a sparrow." That sentiment perfectly encapsulates much of what makes A Flor de Piel so special. The album comes with a message of healing for all people, without forgetting the centuries of struggle and hurt that form the bedrock of modern society. The track "Santa Mar," for instance, is inspired by the musical traditions of afro-pacific women in Colombia, and the crucial role that they play as peacebuilders in the region. Backed by a hypnotic beat, the song features contributions from marimba player Cankita, alongside Las Cantadoras de Yerba Buena, an all-female vocal group that utilizes traditional Afro-Colombian music to preserve their history and promote peace. Standout track "Como Una Rama" is a futuristic take on bullerengue, a traditional style of music and dance originally developed by Maroon communities on Colombia's Caribbean coast. Deeply affecting, the song combines Gutierrez's indomitable voice with electronics that recall Steve Reich's rhythmic minimalism. "Cruzar," the final track on the album, feels almost like a lullaby, with a meditative harmonic style and trance-like vocal melody. "The lyrics," Gutierrez explains, "are a personal reminder of what is important to me: healing, letting go, breathing, evaporating, forgetting, changing, crystallizing." Across the 40-odd minutes of A Flor de Piel, Gutierrez triumphs at recontextualizing traditional sounds and sentiments into a modern form using synth-based and electronic textures. It's a fitting representation for the personal struggles that the artist endured during her move to London. Rather than dwelling solely on the past Guitierrez uses A Flor de Piel to summon the strength of past generations, and forge a new path forward. As she describes it, "The album has accompanied me through inner journeys of finding myself in a new territory _ of redefining myself, of remembering who I am _ in a strange place." As we drift towards an increasingly frightening and uncertain future, perhaps Montañera's A Flor de Piel is exactly what we need: something to give us strength, to bring us peace, and to accompany our journey into a strange new place.

Good Lovelies' first performance as a trio was on December 15th, 2006 - it was a collection of originals and Christmas material, and Toronto-based Caroline Brooks, Kerri Ough and Susan Passmore had no sense yet of the long career that lay ahead. To honour the anniversary of their debut performance, Good Lovelies continued presenting Christmas-themed shows, and what started as a single performance became an annual holiday tour. With a growing catalogue of seasonal material, in 2009 the band decided it was time they made a record. The unusual heat of that May had an interesting effect on the project, and as the band got into the spirit, they wound up with the 12-song collection "Under The Mistletoe" - which includes classics like Santa Baby, Silent Night and Blue Christmas, to swingers like Mele Kalikimaka and Rockin' Around the Christmas Tree, as well as three originals written by Good Lovelies. "Under The Mistletoe" remains one of Good Lovelies most popular titles to date, and now, fourteen years after its initial release, fans are being treated to a fresh pressing on limited edition red vinyl. The release comes just in time for Good Lovelies annual holiday tour which has become a Christmas tradition for thousands of fans at home in Canada.

Released 29th September 2017 on Tricki-Woo Records, Peach is the third full-length proper by Atlanta-based duo Larkin Poe.

Repress!

Since his first Submorphics release on The North Quarter, the Detroit native has tenaciously developed his unique brand of lo-fi, deep drum & bass. With his new six-track EP ‘Verona Highway’, the Den Haag-based producer has created what he calls “a late night Detroit to Chicago road trip aesthetic”. Rooted in the underground, this project is an assemblage of techno, footwork and soulful house influences fused with his own signature earworm melodies, deep minor chords and the modern North Quarter drum & bass sound. The result is an EP that feels emotive and nostalgic while maintaining a modern atmosphere.

'Verona Highway’ marks the return of Submorphics to The North Quarter, just over a year after his critically acclaimed Newport Magnetic EP. Reminiscent of night time drives and peaceful after hours, the EP is a collection of warm, dreamy and sentimental music and is the ultimate soundtrack for serene summer nights.

In the decade or so that hard-working New York quartet Sunwatchers have operated, the group has steadily & subtly refined their sound - a brain-blasting mixture of jazz, psychedelia, krautrock, punk, noise, & Saharan blues - into something that is avant-leaning enough to appeal to the discerning jazz & experimental music fan & weird & wooly enough to get the true heads' toes tapping. "Music Is Victory Over Time" is the band's 5th album, and fourth for Chicago-based Trouble In Mind Records, seeing the long-running lineup of Peter Kerlin (bass guitar), Jim McHugh (guitars), Jason Robira (drums), and Jeff Tobias (alto saxophone and keyboards) in prime form. Album opener "World People" is a classic Sunwatchers number whose title expresses their Anarcho-Internationalist ideology (and the atypically multi-culti make up of their crowds), with an underlying melodic resonance to New Orleans funeral marches à la Albert Ayler _ a triumphant call to arms to all peoples. Live fave "Too Gary"'s gang vocal shout punctuates a motorik rager named for a phrase often uttered by a badass eight year old skateboarder McHugh knew with a speech impediment (it means "that's too scary"). "T.A.S.C." (or "Theme For Anarchist Sports Center") is inspired by Sonny Sharrock's maligned 80's output & sounds exactly like a wrathful, mutant version of a prime-time athletic show theme, replete with the requisite "sitcom ending." The sun- scorched "Foams" - a longform piece intended to depict natural stuff like tides, nightfall, and time slowly passing, ancient, peaceful and slightly gross all at once - practically jumps out of the speakers, its palpable intensity crackling in your eardrums. The title of "Tumulus" might reference an ancient burial mound, but the music itself might be the group's most high-tech song to date, complimented by an arpeggiating sequencer, three different forms of tape delay and an electric saxophone; ecstatic, fiery & deeply spiritual. "There Goes Ol' Ooze" is a smoky creeper that lets Tobias & Kerlin take a walk for a while, with respectful nods to the Stones and Steve Reich. "Song For The Gone" closes out the album, showcasing a sincerely tender moment for the gang, as an expression of love and resolve for dear friends who had recently, tragically died. Its cascading, bluesy melody attuning itself to our own collective unconscious grief. Having the distinct pleasure of being the first band to record in John Dwyer 's new LA-based recording studio Discount Mirrors, "Music Is Victory Over Time" boasts a beefed up sound. The band worked closely with in-house engineer Eric Bauer - facilitator, troubleshooter, sonic obsessive, a legendary freak and a DIY lifer. The band also had full access to the studio's epic armory of gear: amps, axes (it's Dwyer's Eddie Harris model electric sax), synths, a bass guitar once belonging to Klaus Flouride of the Dead Kennedys. Crucial for the sounds and the vibe. The album art was created by Josh MacPhee, the activist artist, author, archivist and founding member of both the radical artist collective Just Seeds and Interference Archive, a public collection of materials from social movements based in Brooklyn. MacPhee's participation in the project works as a statement of Sunwatchers' progressive utopian intentionality, and organically underscores their involvement in revolutionary projects within and without of their hometown. Listening to "Music Is Victory Over Time", Sunwatcher's rebellious spirit & unbridled enthusiasm remain fully intact, but the secret sauce is their infectious irreverence in the face of the horrors of this world. Much of our best cultural commentary is Trojan-horsed to the general public via humor & satire & the band has a knack for lacing the ridiculous with the radical. It's good to have them back. "Music Is Victory Over Time" is released worldwide digitally via most DSPs, on CD, black vinyl & a limited "Sunflare" blue/red splatter vinyl while supplies last.

In the decade or so that hard-working New York quartet Sunwatchers have operated, the group has steadily & subtly refined their sound - a brain-blasting mixture of jazz, psychedelia, krautrock, punk, noise, & Saharan blues - into something that is avant-leaning enough to appeal to the discerning jazz & experimental music fan & weird & wooly enough to get the true heads' toes tapping. "Music Is Victory Over Time" is the band's 5th album, and fourth for Chicago-based Trouble In Mind Records, seeing the long-running lineup of Peter Kerlin (bass guitar), Jim McHugh (guitars), Jason Robira (drums), and Jeff Tobias (alto saxophone and keyboards) in prime form. Album opener "World People" is a classic Sunwatchers number whose title expresses their Anarcho-Internationalist ideology (and the atypically multi-culti make up of their crowds), with an underlying melodic resonance to New Orleans funeral marches à la Albert Ayler _ a triumphant call to arms to all peoples. Live fave "Too Gary"'s gang vocal shout punctuates a motorik rager named for a phrase often uttered by a badass eight year old skateboarder McHugh knew with a speech impediment (it means "that's too scary"). "T.A.S.C." (or "Theme For Anarchist Sports Center") is inspired by Sonny Sharrock's maligned 80's output & sounds exactly like a wrathful, mutant version of a prime-time athletic show theme, replete with the requisite "sitcom ending." The sun- scorched "Foams" - a longform piece intended to depict natural stuff like tides, nightfall, and time slowly passing, ancient, peaceful and slightly gross all at once - practically jumps out of the speakers, its palpable intensity crackling in your eardrums. The title of "Tumulus" might reference an ancient burial mound, but the music itself might be the group's most high-tech song to date, complimented by an arpeggiating sequencer, three different forms of tape delay and an electric saxophone; ecstatic, fiery & deeply spiritual. "There Goes Ol' Ooze" is a smoky creeper that lets Tobias & Kerlin take a walk for a while, with respectful nods to the Stones and Steve Reich. "Song For The Gone" closes out the album, showcasing a sincerely tender moment for the gang, as an expression of love and resolve for dear friends who had recently, tragically died. Its cascading, bluesy melody attuning itself to our own collective unconscious grief. Having the distinct pleasure of being the first band to record in John Dwyer 's new LA-based recording studio Discount Mirrors, "Music Is Victory Over Time" boasts a beefed up sound. The band worked closely with in-house engineer Eric Bauer - facilitator, troubleshooter, sonic obsessive, a legendary freak and a DIY lifer. The band also had full access to the studio's epic armory of gear: amps, axes (it's Dwyer's Eddie Harris model electric sax), synths, a bass guitar once belonging to Klaus Flouride of the Dead Kennedys. Crucial for the sounds and the vibe. The album art was created by Josh MacPhee, the activist artist, author, archivist and founding member of both the radical artist collective Just Seeds and Interference Archive, a public collection of materials from social movements based in Brooklyn. MacPhee's participation in the project works as a statement of Sunwatchers' progressive utopian intentionality, and organically underscores their involvement in revolutionary projects within and without of their hometown. Listening to "Music Is Victory Over Time", Sunwatcher's rebellious spirit & unbridled enthusiasm remain fully intact, but the secret sauce is their infectious irreverence in the face of the horrors of this world. Much of our best cultural commentary is Trojan-horsed to the general public via humor & satire & the band has a knack for lacing the ridiculous with the radical. It's good to have them back. "Music Is Victory Over Time" is released worldwide digitally via most DSPs, on CD, black vinyl & a limited "Sunflare" blue/red splatter vinyl while supplies last.

Yearly compilation album RADAR by KEROXEN returns with its fourth volume in the ongoing series of themed based albums showcasing the talents and misfortunes of carefully selected musical projects based or connected with the Canary Islands.

With its first volume released in 2020 aiming to promote and divulge adventurous Island based music, the Keroxen imprint now presents Vol.4 with another showcase of the various insular musical scenes made in the outermost regions – in this case, a very rare incursion outside the Canary Archipelago by way of handpicking friends and colleagues working in the further most regions we can think of. A very special showcase then, featuring the Azores Islands, Reunion Island, Canary Islands and French Guiana - a true connection of likeminded minds whom demonstrate once again that you do not need to be in an western hipster mecca to make interesting work.

The presentation format sticks to its breakable rules, with each artist offering one track per side and the full thing of course wrapped up in Pura Marquez dizzying post-tropical art.

The album opens with the Julee Cruise inspired project Akane by Tenerife’s Carolina Machado where synth arpeggios intertwine organically with her soothing voice, setting the tone for Reunion Island’s Jako Maron and his unique take on local Maloya music by way of electrifying it into a trance like looping beat. Enter French Guyana’s Daryanna Jean unique sound artistry with sampling, cutting and pasting local(?) sounds into a disorientating needle jump glitch fest. Side A eventually closes with a very Azorean take on the very English hauntological sound by borrowing those pastoral melodies and synth riffs of yesterday and transposing it to the remote Sub-Tropical fields of São Miguel island, in the Azores, courtesy of Flipping Candy.

Side B emphatically reinforces the compilation’s original concept that no matter where you are, in this post internet, post everything world, outsider music thrives and keeps raising the invisible bar, true that!

What are the differences and similarities between human and artificial sound, between oscillations generated by vocal cords and synthesizer voices, voltage amplified by speakers? On Silencio, his latest album for Tresor Records, Moritz von Oswald works with a 16-voice choir to explore this concept.
Drawing from the ensemble works of long-standing inspirations Edgard Varèse, György Ligeti and Iannis Xenakis, von Oswald and Vocalconsort Berlin delve into the space between sounds, creating a deeply textured collection that shifts between light & ethereal and
dark & dissonant.
As masterfully demonstrated in the early work of von Oswald and Mark Ernestus’ influential Basic Channel project, repetition and reduction are key elements here, much in the tradition of techno and minimalism. The vast dynamism of the human voice adds to the
profound weight of electronics while offering up a rhythmic source and sonic noise palette unexplored in von Oswald’s repertoire. In Silencio, von Oswald dredges a dank murk, pulling clouds over a distant pulse. It hangs, ready to take on new forms.
The compositions were written in von Oswald’s Berlin studio on classic synthesizers, such as the EMS VCS3 & AKS, Prophet V, Oberheim 4-Voice and the Moog Model 15. These abstract recordings were transcribed to sheet music for choir by Berlin-based Finnish composer and pianist, Jarkko Riihimäki and performed by Vocalconsort Berlin in Ölberg church in the city’s Kreuzberg district, only few metres down the road from where Dubplates & Mastering and Hard Wax opened their doors for music enthusiasts for many years so long. The recordings of the choral versions were then incorporated into the synthesized parts of the album and brought into anew electronic context; in Silencio, the focus is not on using one means to imitate the other, but to sonically discuss the tensions and harmonies between the two worlds and create a dialogue between them.
The relationship between von Oswald and Tresor Records goes back thirty years, all the way to Blake Baxter’s Dream Sequence in 1991 - which von Oswald engineered alongside Thomas Fehlmann. The collaboration with Fehlmann lived on, seeing the duo team up as 3MB with Eddie Fowlkes or Juan Atkins. More recently, the Detroit-Berlin connection continued as Juan Atkins & Moritz von Oswald present Borderland.
For von Oswald, Tresor Records and also the participating guest musicians of the choir, this release brings together audiences from other musical areas, cross-pollinating; Silencio is an album that stands for itself beyond the musical genre boundaries.

New Zealand indie trifecta Mermaidens, are set to make a resounding splash in the music scene yet again with the announcement of their fourth self-titled album and release of the project's first single ‘I like to be alone’. The trio, comprising of Gussie Larkin (guitar/vocals), Lily West (bass/vocals), and Abe Hollingsworth (drums), has been on an impressive journey of musical excellence, boasting three critically acclaimed albums, international tours, and a slew of accolades to their name. With a sound that is both bold and adventurous, Mermaidens' music is a testament to their unwavering creativity and relentless work ethic. Their upcoming self-titled album, a product of the band's tireless efforts between 2019 - 2022, promises to be a captivating sonic journey, delving into themes of self-awareness, introspection, long-term love, and even channelling political anger and frustration. Recorded mainly at Surgery Studios in Wellington, with the engineering prowess of Lee Prebble and produced by Samuel Flynn-Scott of The Phoenix Foundation fame, the album also saw the band stepping up their production game with Gussie and Lily working their magic with Protools in their DIY home studios, showcasing their growth and versatility as artists. “Working with Sam has really been a round-trip in our creativity,” as Lily explains, “we grew up listening to Sam’s early records and here we are getting the inside scoop on how to make that kind of magic. Listening to Pegasus today still transports me to a time when I listened to music on a Walkman. In the best possible way - sometimes it felt like we’d added an evil genius to the mix, we’d be working on a song and he’d come in like a mad scientist with fresh ideas to try.” To give fans a taste of the upcoming album's brilliance, Mermaidens have released new single 'I like to be alone.' The song has been part of the band's live repertoire for a while and explores the fulfilling contentment of being alone and the struggle to convey this sentiment to a partner. Its relatable lyrics capture the essence of cherishing solitude while navigating the complexities of human connections. Gussie's candid and honest approach to self-discovery is complemented by the song's, Michel Gondry inspired video, as Gussie explains: “The giant jean pocket and denim world were created by Hannah Webster, a textile designer and illustrator based in Wellington. Hannah took all the wild ideas for props and made them come true! I’m still in awe of how she managed to sew a 6x6 metre backdrop for the denim world out of whatever scraps she could find. The video captures our playfulness and sense of humour, and is a hint of what’s to come for the rest of the music videos. I love the way the story wraps up with the three of us together, literally playing “in the pocket”. Mermaidens' self-titled album will be released on Friday 3 November 2023 and is available for pre-order now. UK listeners will be able to pick up an exclusive Rough Trade vinyl pressing in transparent red, along with an A3 poster and jumbo bumper sticker. Having released their last two albums through iconic local label Flying Nun, Mermaidens will be released independently. Creative control is an important pillar for the band, who are hands on in every facet of their projects. Mermaidens gather their community close via their hugely popular multi-city boutique festival Mermgrown, hosting peers including Womb, Hans Pucket, Vera Ellen (Girl Friday) and Kōtiro from 2021 onwards. They've been invited to share the stage with Death Cab For Cutie, Sleater-Kinney, Gang of Four, Parquet Courts, Lorde and The Veils, and have toured extensively in Europe, the UK, and Australia.