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WRWTFWW Records is in a state of total bliss as it announces the release of the Pitstop Box compiling all 24 tracks from Japanese house music pioneer Shinichiro Yokota’s two acclaimed albums Do It Again and Again (2016) and I Know You Like It (2019). The collection, available on vinyl for the first time ever, is presented as six 45rpm-cut 12inches housed (!) in a superb slipcase box set created by Lopetz, designer, illustrator, typographer, and co-founder of Swiss graphic design studio Büro Destruct. Included as bonuses are two sticker sheets.

Previously only available on CD in Japan via cult electronic label Far East Recording, Shinichiro Yokota’s album discography finally gets a long overdue vinyl release in the form of a limited-edition box set housing (!) six 12inches and a total of 24 songs showcasing the house legend’s celebrated sound. With a production style drawing from a rich blend of funk, hip hop, electronic, and Japanese influences, Yokota’s music is loved for its simplicity, its hypnotic quality, and, most importantly, its SOUL – homegrown 90s soulful melodic club music…pure love!

The Pitstop Box, full of dancefloor treasures and sprinkled with downtempo gems, not only defines Yokota’s personal journey but also resonates as an essential contribution to the house genre and Japanese music in general. It includes his house hits (“Right Here Right Now”, “Night Drive” and the list goes on), a cover of “Simoon” by Haruomi Hosono’s Logic System, and a collaboration with his longtime partner and electronic music hero Soichi Terada.

Shinichiro Yokota began his musical history in Tokyo, inspired by electronic music giants such as Yellow Magic Orchestra and Kraftwerk. He co-founded Far East Recording with the great Soichi Terada (who also worked with WRWTFWW for the Omodaka compilation) in 1990. After releasing the now highly sought after Far East Recording album with Terada in 1992 (from which his viral hit “Do It Again” is from), he took a hiatus from music and, most notably, brought his passion for sports cars to the next level by launching Night Pager, a company he started with his wife, specializing in tuning sports cars and modifying limiters for competition racers. It’s this side of Yokota’s life which has inspired the design of the Pitstop Box. He triumphantly came back to music with the album Do It Again and Again in 2016, consisting of unreleased 90s recordings as well as new material, and followed it up with I Know You Like It in 2019. His work has influenced generations of producers, and has expanded Japanese house music's reach on the global stage. Experience it on vinyl now.

Full unadulterated pleasure forever - from night drives to dancefloors.

"Visionary director, photographer and producer, Robert Ascroft unveils a captivating musical odyssey akin to the cinematic allure of Wim Wenders' ""Until The End Of The World"" and the ethereal resonance found in 4AD's This Mortal Coil. Emerging as a prominent photographer in the 2000s, Ascroft forged his path through collaborations with luminaries of the Oscars, Grammys, Tonys, and Emmys. With an innate ability to capture the essence of his subjects through his camera lens, he redefines photography, infusing it with depth, emotion, and narrative. A classically trained guitarist turned music producer, Ascroft weaves intricate melodies and evocative songwriting with cinematic narratives.

Drawing from a diverse array of talented friends, Ascroft curates a mesmerizing ensemble of vocal performances featuring luminaries such as Zumi Rosow (Black Lips), Kid Congo Powers (The Cramps, Gun Club), Tess Parks, Ruth Radelet (Chromatics), Britta Phillips (Luna), and more. With Ascroft's multi instrumental performances on guitar, bass, and keys, complemented by the rhythmic contributions of friends Derek James and Roger Brogan, the album takes on a rich and dynamic sonic journey.

""Echo Still Remains'' transcends traditional musical boundaries, beckoning listeners into a world crafted from Ascroft's vivid imagination. Each track unfolds like a technicolor scene in a cinematic narrative, with each melody and lyric evoking a sense of profound introspection and wonder. Accompanied by stylized music videos in Ascroft's distinct visual world, ""Echo Still Remains"" emerges as a multifaceted work of art, inviting listeners to stir the soul and lose themselves in a world of sound and sensation."

A deep and mysterious groove that makes you hesitate to give in to it. Kiyoshi Sugimoto is a guitarist who has sharply shot through the heart of the times. This is the highest point of his achievement.

Kiyoshi Sugimoto is a guitarist that Terumasa Hino longed for and Akira Ishikawa fell in love with. His cutting-edge and diverse sound has always been at the forefront of modern jazz and jazz rock, and has sharply shot through the heart of the times. There is no doubt that this work, "Babylonia Wind", captures one of the pinnacles of his musical expression. Hideo Ichikawa's electric piano spreads like a ripple, Yoshio Ikeda's rich yet restrained bass, Motohiko Hino's drums with good grain and strong propulsion, Takao Uematsu's saxophone that combines wildness and luster, and Sugimoto's sharp guitar that flashes. From the deep sea-like "Babylonia Wind" to the delicate and fleeting "Hieroglyph", when you listen to the whole album, you will be astonished by the variety of expression and awed by the depth of the groove.

1/4" / 15 IPS / Dolby A Analogue Copy to DSD 256 to analogue console to lathe

Carlos Santana and Company Return to a Dynamic Blend of R&B, Latin, Funk, and Rock: Amigos Aims for the Hips, Spreads Joy, and Includes “Europa (Earth’s Cry Heaven’s Smile)” Amigos has been beloved for decades by both long-time and recent Santana admirers, with multiple generations of fans drawn in by the record’s contagious blend of R&B, Latin, rock, and funk elements. As well as its immense accessibility. Coming off a series of albums that heavily leaned into jazz fusion, the band returns to the more dynamic and concise approaches of its earlier works without losing the sense of adventurousness, craftsmanship, and virtuosity that turned it into a juggernaut embraced by both the mainstream and experimentally minded communities.

Mastered at Mobile Fidelity’s in-house studio in California, pressed at Fidelity Record Pressing, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM LP of Amigos presents the 1976 album in audiophile sound for the first time on a domestic release. Part of the reissue label’s Santana series, this collectible version features quiet surfaces and black backgrounds that help reveal the intricate details, distinguished tones, and cohesive interplay that cause Santana’s music to take flight.

The enhanced aural perspectives extend not only to Carlos Santana’s intoxicating fills and solos, but to the rich tapestry of the rhythmic, melodic, and vocal elements that help Amigos feel as fresh today as it did several decades ago. This LP shines a beaming light on the surrounding musicians that simultaneously feed off and inspire their bandleader. The solidity and depth of the bass lines; the wash of the organ; the scope and carry of the vocals; the grip and weight of the low-end frequencies; and, possibly the most enticing traits, the textures of the acoustic guitars, numerous percussive devices, and then-modern synthesizers: all come across with tremendous presence and energy.

Entirely appropriate for a set that kicks from the start, with the opening “Dance Sister Dance (Baila Mi Hermana)” true to the song title’s combination directive-invitation meaning. Tropical, soulful, upbeat, and liberating, it beckons hips to shake and delicious libations to pour. Clinking cowbells, spirited background vocals, hand-tapped congas, and Carlos Santana’s six-string magma pour forth with abundance. The song sets the mood and expectations for a record that contains not an ounce of filler, and which inspires and spreads joy at practically every turn.

On the gold-certified Amigos, the ensemble never seems to run short of zest or happiness. Key in on the Latin bite and searing guitar architecture of “Take Me With You,” an instrumental that shifts tempo at its midpoint and sparkles with a samba-like outro that aims to put everyone in earshot on the dance floor. Surrender to the slow-burn of “Tell Me You Are Tired,” sent up with Greg Walker’s sympathetic vocals and spun around with whirling funk accents. Marvel at the Spanish guitar introduction, Mexican folk foundation, group vocals, and extroverted grooves of the forward-propulsive “Gitano,” with lead singing by conga/bongo expert Armando Peraza.

Having reached the Top 10 in the United States and spawned the hit “Let It Shine,” Amigos marked the final stint for bassist David Brown, the last of the group’s famed Woodstock lineup to depart. His contributions feel especially spirited throughout the album, compass readings that the group uses to chart their course. Just listen to how his passages pop on “Let Me” and frame the can’t-get-it-out-of-your-head “what you need is what you want” refrain. And while Carlos Santana remains the centerpiece of the brilliant and meditative “Europa (Earth’s Cry Heaven’s Smile),” Brown serves as a trustworthy anchor and friendly advocate.

It’s safe to assume no one in the audience at Carnegie Hall on March 30, 1974 anticipated what Miles Davis would play at the concert documented on Dark Magus: Live at Carnegie Hall. Recorded near the tail end of his electric period, the double album remains the darkest, most ferocious statement of Davis’ career — a visionary effort that foresaw developments in jungle, noise-rock, funk, and drum ‘n’ bass.

Initially issued in Japan in 1977, Dark Magus waited two decades for U.S. release. Now, more than 50 years after Davis and his ensemble blew minds at the famous New York venue, it gets its first-ever domestic issue on vinyl — and on a definitive-sounding pressing at that.

Mastered at Mobile Fidelity's California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, this numbered-edition 180g 33RPM 2LP set of Dark Magus invites you to pull up a seat and wrap your head around an exhilarating performance that simultaneously functions as an audition, experiment, release, and magnificent explosion of jazz-rock fusion. We hope your turntable and speakers are up to the challenge.

This collectible reissue presents the improvisational magic that unfolded onstage — the skronking tonalities, wah-wah-pedal bluster, acid-washed effects, furious drumming, run-the-voodoo-down grooves, menacing riffs, crashing cymbals —with incredible detail, color, and pace. It also captures the band’s unbelievable energy, rendering both instruments and on-the-fly changes with revealing depth, definition, and dynamics. At its core, MoFi’s audiophile set takes you deep into the boundless mystery, promise, and uncertainty of Davis and company’s efforts like never before.

The story behind Dark Magus is nearly as unbelievable as the spur-of-the-moment compositions that resulted when Davis brought drummer Al Foster, bassist Michael Henderson, percussionist James Mtume, horn virtuoso Dave Liebman, and guitarists Pete Cosey and Reggie Lucas together, and, in a new twist for the concert’s second half, added guitarist Dominique Gaumont and tenor saxophonist Azar Lawrence to mix. That the latter two instrumentalists had never seen each other until that night adds to Davis’ legend — and penchant for bold, unorthodox moves.

Ditto Davis’ own actions that spring evening, which reportedly included showing up to the show an hour late and taking the stage with his back facing the crowd. The strategy worked. Davis inspired the group to play in a bold manner that few, if any, had heard before. Dark Magus is a rhythmic bonanza. Rooted in Afro-centrist techniques, avante-garde sensibilities, and exploratory moods, the songs eschew set arrangements and solos, and, for the most part, melodic devices.

For Davis, Dark Magus represented a personal triumph amid a period marked by health issues, addictions, and critical decline. The latter slight would be corrected, but not until decades later when Dark Magus saw Stateside release in 1997 via a CD reissue. Of course, the free-form patterns, unpredictable passages, dense structures, and distorted blues that course through the songs — titled after Swahili numerals — are not for everyone. And certainly not for the fainthearted. Though Dark Magus contains majestic moments marked by quiet restraint and something on the level of balladry, its rich and radical concoction of tormented thwacks, thumps, cracks, clatters, wails, bleeps, burbles, stomps, and enigmatic beats remains its adventurous heart and soul.

Primal and enigmatic, fierce and jagged, forceful and revolutionary, jolting and terrifying, Dark Magus seemingly attacks from any and all directions. Turn it up loud and let the prophetic brilliance of this inimitable and relentlessly funky album wash over you.

Tempat Angker (haunted place) is a Halloween mixtape compiled by music researcher and artist Luigi Monteanni, aka Neurotica Exotica.

To celebrate a second year of fieldwork research in West Java and to bring together the longing for All Hallows’ Eve partying with the archipelago’s richness in local and historical horror folklore tropes, figures, characters and stories, Artetetra’s co-founder cuts up 120 minutes of soundtracks, sound effects and dialogues from the glorious and extensive Indonesian horror movies tradition counting more than 700 titles.

Hear it from speculative horror and sci-fi filmmaker Riar Rizaldi (whole essay in the tape’s leaflet):

“The popularity of cinematic media during the New Order era led to the unprecedented development of more rapid and large-scale production methods. ⁤⁤Genre films, particularly horror and fantasy, emerged as some of the most prolific outputs, with hundreds being produced annually. ⁤⁤The filmmaking process was accelerated, and post-production ᅳ especially sound design ᅳ was completed as swiftly as possible. ⁤⁤Notably, veteran composer and musician Gatot Sudarto, who had worked extensively on drama films in the 1970s, became a regular contributor to studios producing horror and fantasy films in the following decade ᅳ although composer Embie C. Noer was also active during this period, his focus was more on action “sword and sandals” films. ⁤⁤Gatot’s influence in the music departments of these films was significant, helping to create an authentic soundscape. ⁤He adapted many of the compositional techniques used in European horror films (mostly the usage of harpsichord) at the time, blending them with the bass synths characteristic of American horror, while incorporating local and regional instruments to tailor the sound to Indonesian audiences.”

By sampling excerpts from 43 movies spanning the ages from the early seventies to the two thousand and tens, mostly trying to portrait the sound influence of the vintage horror era made popular by the “queen of horror”, actress Suzzanna, Tempat Angker throws you into decades of experimentation in conjuring the sound of Indonesian terror. Unearthly screams, bombastic fights, bamboo music, eighties synthy extravaganza, ominous sound effects, sexy dangdut, evilish pitched vocals, gamelan, eerie laughters from beyond and even calls to prayer fill the air in the spooky month!

Recorded in 1965 at Rudy Van Gelder's studio in New Jersey, Roland Kirk's album Rip, Rig and Panic finds him teamed with the most awesome rhythm section he ever recorded with: pianist Jaki Byard, bassist Richard Davis, and drummer Elvin Jones. It received a 5 star rating on AllMusic, with reviewer Thom Jurek stating that "Rip, Rig, and Panic may be pre-Rahsaan Roland Kirk's greatest outing.

BASta! is the solo project of double bass player and composer Joris Vanvinckenroye, in which he explores and pushes the limits of the double bass. In this project, using looping and effect pedals, Joris creates an almost orchestral sound, using the full range of his instrument-from the deepest basses to the highest notes. These layered compositions weave complex rhythms and melodies into a rich and compelling soundscape.

The debut album of BASta!, Cycles, was released in 2009 on the label Homerecords.be and marked the beginning of an adventurous journey that brought BASta! to numerous stages, both solo and in collaboration with multidisciplinary productions by Rode Boom and Retina Dance Company, among others. Besides BASta!, Joris has been active for decades in bands such as Aranis, Troissoeur and MOTYK (formerly Flairck), with which he performs internationally, from Mexico to China and from Oman to the United States. He also composes music for dance, theatre and multidisciplinary productions, including Rode Boom's successful production Unknown Evidences, which has been performed over 600 times in France, Morocco and Denmark, among others.

Joris Vanvinckenroye:double bass, Viola da Gamba
Composed and recorded by Joris Vanvinckenroye,
Mixed at Studio Cucurucu by Jesse De Roo
Mastered at Elektropolis by Uwe Teichert
Album produced by Nik Bartsch

Wehe, wenn sie losgelassen: Ein beißender, rennender und wuselnder Schwarm bösartiger Nagetiere flutet unaufhaltsam heran. RATS OF GOMORRAH lassen ihr Debütalbum "Infectious Vermin" auf eine schockierte Welt los. Wem das Bild einer Horde Ratten keine Gänsehaut verursacht, den mag der Hinweis schrecken, dass "Infectious Vermin" auch aufgrund der Frustration des deutschen Duos über die Aversion der Metal-Szene gegen jegliche Veränderung herangezüchtet wurde. Aber keine Sorge: Obwohl es RATS OF GOMORRAH satt haben, wenn einfach nur die müden Klischees eines durchschnittlichen Death Metal-Albums wiedergekäut werden, sind sie nicht einfach vom sinkenden Schiff gesprungen. Ihr Sound wurzelt noch immer im Todesmetall, aber er sprießt nun auch in Richtung von Heavy- und Speed Metal. Der Stimmeinsatz ist auf "Infectious Vermin" besonders abwechslungsreich gehalten und die Härtesuppe wurde obendrein mit scharfen Gewürzen wie Crust-angehauchten Riffs und eingängigen Refrains veredelt. Inhaltlich verwandeln die Deutschen aktuelle Themen in finstere Geschichten im Stil von H. P. Lovecraft, in denen es vor Rattenplagen nur so wimmelt. RATS OF GOMORRAH haben eine viel längere Geschichte hinter sich, als es ihr Erscheinen unter diesem Namen vermuten lässt. Streng genommen kam das deutsche Duo zwar erst im Jahr 2023 mit dem neuen Nager-Namen aus seinem Loch gekrochen, och die Band hat bereits über ein Jahrzehnt Death Metal auf dem Buckel. Gitarrist und Sänger Daniel Stelling war ebenso wie Moritz Paulsen am Schlagzeug seit dem Jahr 2009 ein Teil des international operierenden norddeutschen Death Metal Trios DIVIDE, das sich bereits im Jahr 2016 in ein Duo verwandelte. Wem es nun auf der Haut juckt und kribbelt, während aus den Wänden kriechende und raschelnde Geräusche dringen, der findet ein perfektes Gegenmittel zum aufkeimenden Gefühl des Grauens in "Infectious Vermin": Einfach den Lautstärkeregler auf 10 gedreht und es ist keine Ratte mehr zu hören. Dafür hämmern vielleicht ein, zwei oder auch vier Nachbarn an die Wohnungstür. Egal, lasst es alle wissen: RATS OF GOMORRAH sind nicht aufzuhalten!

Wehe, wenn sie losgelassen: Ein beißender, rennender und wuselnder Schwarm bösartiger Nagetiere flutet unaufhaltsam heran. RATS OF GOMORRAH lassen ihr Debütalbum "Infectious Vermin" auf eine schockierte Welt los. Wem das Bild einer Horde Ratten keine Gänsehaut verursacht, den mag der Hinweis schrecken, dass "Infectious Vermin" auch aufgrund der Frustration des deutschen Duos über die Aversion der Metal-Szene gegen jegliche Veränderung herangezüchtet wurde. Aber keine Sorge: Obwohl es RATS OF GOMORRAH satt haben, wenn einfach nur die müden Klischees eines durchschnittlichen Death Metal-Albums wiedergekäut werden, sind sie nicht einfach vom sinkenden Schiff gesprungen. Ihr Sound wurzelt noch immer im Todesmetall, aber er sprießt nun auch in Richtung von Heavy- und Speed Metal. Der Stimmeinsatz ist auf "Infectious Vermin" besonders abwechslungsreich gehalten und die Härtesuppe wurde obendrein mit scharfen Gewürzen wie Crust-angehauchten Riffs und eingängigen Refrains veredelt. Inhaltlich verwandeln die Deutschen aktuelle Themen in finstere Geschichten im Stil von H. P. Lovecraft, in denen es vor Rattenplagen nur so wimmelt. RATS OF GOMORRAH haben eine viel längere Geschichte hinter sich, als es ihr Erscheinen unter diesem Namen vermuten lässt. Streng genommen kam das deutsche Duo zwar erst im Jahr 2023 mit dem neuen Nager-Namen aus seinem Loch gekrochen, och die Band hat bereits über ein Jahrzehnt Death Metal auf dem Buckel. Gitarrist und Sänger Daniel Stelling war ebenso wie Moritz Paulsen am Schlagzeug seit dem Jahr 2009 ein Teil des international operierenden norddeutschen Death Metal Trios DIVIDE, das sich bereits im Jahr 2016 in ein Duo verwandelte. Wem es nun auf der Haut juckt und kribbelt, während aus den Wänden kriechende und raschelnde Geräusche dringen, der findet ein perfektes Gegenmittel zum aufkeimenden Gefühl des Grauens in "Infectious Vermin": Einfach den Lautstärkeregler auf 10 gedreht und es ist keine Ratte mehr zu hören. Dafür hämmern vielleicht ein, zwei oder auch vier Nachbarn an die Wohnungstür. Egal, lasst es alle wissen: RATS OF GOMORRAH sind nicht aufzuhalten!

As Tele Novella, Chronis (who performs in the beloved and rekindled indie pop band Voxtrot) and Ribbons (who previously performed in the long-running “Victorian punk” project Agent Ribbons) have spent their past two albums creating "Medieval outsider country" on 2016’s House Of Souls and 2021’s Merlynn Belle. Poet’s Tooth – the band’s second album for Kill Rock Stars – steers the duo’s whimsical western-tinted quality into fascinating new directions: cinematic-pop balladry on the autoharp-tinged opener “Young & Free,” gently clip-clopping Americana-folk on “Hard-Hearted Way,” and bass-driven funk on the wry “Eggs In One Basket.” With help from producer Danny Reisch, Tele Novella have crafted their most genre-rich, poetic, and sincere album yet.

Having haunted stages across the UK for the best part of a decade, the critical success of their 2024 sophomore full-length `Acts of Harm' gave caustic shoegaze outft Outlander pause to refect on their astounding 2019 debut, `The Valium Machine', soon to be reissued by Pelagic Records on vinyl for the frst time. Written and recorded in 2018 over a handful of studio sessions in Stoke-on-Trent, `The Valium Machine' was a formative experience for Outlander in more ways than one. Prior to working on the album, the band would happily describe themselves as your standard, straight-down-the-middle post rock band but an openness to new infuences from the `90s slowcore and shoegaze scenes, the delicate, textural introduction of vocals and the pivotal decision to track the album in sprawling, full-band takes lead Outlander to fundamentally redefne their sound and scale; adding a pointed sense of dynamic and discordant dirge that lead to the four-piece sharing stages with trailblazing genre heavyweights Bossk and Grivo as well as breathtaking performances at festivals like Dunk! (BE) and ArcTanGent (UK). With beautiful artwork produced in partnership with street photographer Richard Lambert documenting the colourful, everyday life of their beloved Birmingham, the initial run of `The Valium Machine' was limited to a criminally small 50 CDs through tiny local imprint FOMA. Now, fve years later, Outlander owe their panoramic pace and formidable, funereal sound to those few days spent in Stoke- on-Trent and the band, along with Pelagic Records, believe this nascent recording deserves to be heard by many, many more. FOR FANS OF: Duster, Codeine, Swervedriver, Catherine Wheel, Kowloon Walled City

Having haunted stages across the UK for the best part of a decade, the critical success of their 2024 sophomore full-length `Acts of Harm' gave caustic shoegaze outft Outlander pause to refect on their astounding 2019 debut, `The Valium Machine', soon to be reissued by Pelagic Records on vinyl for the frst time. Written and recorded in 2018 over a handful of studio sessions in Stoke-on-Trent, `The Valium Machine' was a formative experience for Outlander in more ways than one. Prior to working on the album, the band would happily describe themselves as your standard, straight-down-the-middle post rock band but an openness to new infuences from the `90s slowcore and shoegaze scenes, the delicate, textural introduction of vocals and the pivotal decision to track the album in sprawling, full-band takes lead Outlander to fundamentally redefne their sound and scale; adding a pointed sense of dynamic and discordant dirge that lead to the four-piece sharing stages with trailblazing genre heavyweights Bossk and Grivo as well as breathtaking performances at festivals like Dunk! (BE) and ArcTanGent (UK). With beautiful artwork produced in partnership with street photographer Richard Lambert documenting the colourful, everyday life of their beloved Birmingham, the initial run of `The Valium Machine' was limited to a criminally small 50 CDs through tiny local imprint FOMA. Now, fve years later, Outlander owe their panoramic pace and formidable, funereal sound to those few days spent in Stoke- on-Trent and the band, along with Pelagic Records, believe this nascent recording deserves to be heard by many, many more. FOR FANS OF: Duster, Codeine, Swervedriver, Catherine Wheel, Kowloon Walled City

After a string of celebrated releases for labels like Eglo, Neroli, and Sounds Familiar, Patrick Gibin unveils his debut album on his own Mother Tongue imprint, showcasing his signature dedication to all things deep and soulful.


Standout collaborations include tracks with Kaidi Tatham, such as “Gear Up Rudi!” and “Let It Go,” with Kaidi also delivering a rare vocal performance on the title track. Patrick’s early house and acid influences shine on “No Matter What” and “Joint Purpose (Alternative Mix),” while his notorious love for boogie is on full display in “Team Spirit” and the Sandra St. Victor collaboration, “Come Mornin’.”


Sandra, best known as the powerhouse voice of The Family Stand, brings her unmistakable vocal brilliance to the album, enhancing its emotional depth and soulful energy. The album closes with the mellow outro “In This Together,” another title that shows the mindframe and ethic behind Mother Tongue in all its endeavours. This collective spirit is further reflected in the contributions of Italian talents Edoardo della Bitta and Alberto Lincetto, whose musical artistry added a vital dimension to the album’s rich and soulful sound.
It’s all about Strength in Numbers!

Richer’s Castlevania EP dives into the shadowy side of 80’s synth music. dark , haunting vocals, and atmospheric melodies. Blending differents elements with a modern touch.

With lyrics that "give a voice to the feelings of people who often get left out of
popular discourse and pop culture" (NPR), Oliver Anthony became the first artist
in history to debut at No. One on the Billboard charts without previously having a
song on the charts with his hit song "Rich Men North of Richmond." The song has
been streamed more than 153 million times on YouTube and has tallied more
than 433 million across all streaming platforms. He is the first living male
songwriter to chart 13 songs simultaneously in Billboard's Top 50 Digital Song
Sales. Five of his other songs have made iTunes' Top 10, including "Ain't Got a
Dollar," which also claimed the No.One spot on Spotify's Viral 50 list.
In April, he released his first studio album, Hymnal Of A Troubled Man's Mind; the
dynamic 11-song collection "hits on an emotional, nostalgic musing of childhood
joy compared to adulthood strife. These ideas expound on facets of human
existence untouched by the political realm, no matter which camp you find
yourself on" (American Songwriter). Produced by Grammy winner Dave Cobb, the
album was praised by fans and critics for its "homespun sound" that shines light
on "his grainy, soulful vocal with acoustic guitars, bass and fiddle" (Billboard).
"Helmed by Nashville super- producer Dave Cobb, the 18- track collection is rife
with stories of addiction, depression, faith, and fury as Anthony documents the
decade leading up to his unexpected rise to stardom (it also features eight Bible
verses as interludes). A stark departure from "Richmond" in some ways and
others not, the album is proof that his viral moment wasn't a fluke." -
"This album represents the most pure and transparent view inside my heart and
soul that I could offer. While Richmond was the song that got my name out in the
public, these songs represent the true foundation of the music that got me
through life up until now" - Oliver Anthony Music

YSE Saint Laur'Ant returns with Saudade, an EP that digs deep into groove-rich territories, effortlessly blending genres and inspirations. Side A opens with an intriguing cut that merges gospel flair with ESG-inspired rhythms, driven by raw beats and a bassline that hooks instantly.

Following up is Special, where YSE’s long-time collaborator adds soft, spacey vocals over a supremely laid-back groove, creating a floating, heady vibe. Flipping to Side B, New York Boys offers a curious, spaced-out pulse with a touch of big-city grit, setting up the EP's final track, Gone Fighting. This midtempo closer stands out with an infectious Slavic sample infusion that rounds off Saudade on a note that's both groovy and reflective.

This is one of the most ambitious 7"s we've ever come across - it is an EP with 11 'tracks' that all play out like a beat tape with interludes crafted by SNDTRAK. It has everything a good beat tape should have - dusty drums, ill samples and a rich sense of soul and storytelling. It moves at pace through the different moods and grounds with gorgeous pianos, sunny vocals, lush strings and mellifluous melodies all grabbing your attention at various points as it plays out. A wonderful and cultural trip through sound.

Following the launch of his new music label, Early Morning, in September 2024, Guy J sets the stage for its sophomore release-an immersive two-track concept by acclaimed producer Roy Rosenfeld.



Roy, an artist whose productions often transcend genre boundaries, offers near-17-minute material with an imaginative work that captures attention and a creative depth.

The opening track, "Forgotten," evolves with a measured intensity, layering elements that cultivate a ritualistic atmosphere. The arrangement unfolds through indigenous-percussive influences, steadily progressing towards a resonant climax. By the third act, rich, deep chords punctuate the experience with a sense of calm, only to transition into a melodic break followed by the tribal-inspired crescendo.

Equally compelling, the closing "Hello" begins with an 80s arcade-inspired, lo-fi aesthetic juxtaposed against high-fidelity beats. Driven by ethnic percussion, it conjures the raw energy of ancient rituals, evoking primal imagery of witch doctors dancing around fires to honor the cycles of life.

Here, Rosenfeld merges traditional, futuristic, and vintage synth elements in a call to fellow producers, challenging them to innovate while empowering dancers to embrace nights of hedonistic freedom.

Mit "The Beautiful World" schlägt der gebürtige Kalifornier ein vollkommen neues Kapitel auf, indem er mehr denn je auf emotionalen Tiefgang und die Schönheit der Introspektion setzt. Basierend auf einem ganz neuen Verständnis davon, weshalb er überhaupt als Komponist arbeitet, umkreist sein viertes Album für Erased Tapes die großen Themen der Menschheit - den Tod und die Trauer, Sehnsucht und Verlust. Im Kern geht es dabei um den tragischen Selbstmord eines jungen Mädchens namens Lauren, das zum engen Freundeskreis der Familie Allred gehörte. Es gibt Musiker:innen, die mit einem neuen Instrument experimentieren, ein neues Thema für sich erschließen oder eine neue künstlerische Sprache lernen, um sich insgesamt in eine neue Richtung zu bewegen. Für Allred jedoch war eine lange Phase der Introspektion und Selbstbeobachtung entscheidend, um seine aktuelle Herangehensweise zu entwickeln: Durch den intensiven Austausch mit Robert Raths, dem Gründer von Erased Tapes und Produzenten des neuen Albums, wurde Allred schließlich klar, dass jede:r eine Lauren in seinem Leben hat - einen Menschen, den man verloren hat und vermisst Die Korrespondenz versetzte Allred in die Lage, diesen Faden deutlicher zu erkennen und ihn auch klarer als zentrales Konzept der neuen Aufnahmen zu verankern. Die Musik spiegelt dabei keineswegs das Chaos wider, das mit dem Trauma einherging. Stattdessen entfaltet sie vielmehr ihre heilende Kraft. Insgesamt ermöglichte dieser Austausch es Allred, sein womöglich kohärentestes Studioalbum aufzunehmen. Ein zentraler Einfluss von The Beautiful World ist dabei auch Allreds Arbeit als Therapeut, was seine Sicht aufs Komponieren nachhaltig prägen sollte. Früher habe er Musik geschrieben, um sich in diesem Prozess gewissermaßen von seinem Leben zu distanzieren. Auf dem neuen Album jedoch bewegt er sich nun in die entgegengesetzte Richtung: Es geht genau um diese Verbindungen - zum eigenen Leben und auch zu anderen Menschen. Obwohl viele seiner früheren Aufnahmen zusammen mit anderen Künstler:innen entstanden sind, musste sich Allred dafür zunächst aus den Kreisen rausbewegen, in denen er sonst arbeitet - nur so konnte er herausfinden, was er wirklich kreieren wollte. Das Resultat ist The Beautiful World. "Gespeist aus der Kraft der Liebe und der Neugier, aus der Kraft des Humors und der Versöhnung, präsentieren wir: The Beautiful World."