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Miles Davis created just one studio album with his original sextet: Milestones. And he made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, Davis not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with performances among the most explosive of his distinguished career. Sandwiched between the more famous 'Round About Midnight and the epochal Kind of Blue, Milestones remains a seminal work of art.

Sourced from the original master tapes and pressed on dead-quiet SuperVinyl, Mobile Fidelity's numbered-edition 180g LP grants each musician their own space amid broad soundstages. Afforded the benefits of a nearly non-existent noise floor and supreme groove definition, this vinyl reissue doubles as a time machine back to the February-March 1958 recording sessions.

Colors, shapes, and dimensions appear in the manner that resembles what you'd glean from behind a studio control room's window. Davis' burnished trumpet is rendered in three-dimensional perspective and seemingly coaxes the band to play with unburdened zest. Coltrane's trademark saxophone teems with lifelike tonality and images with specificity; his solos work in tandem with and against the driving rhythms. Garland's swaggering piano lines? Visualize the keys as he hits full stride, the chords and fills slithering around skeletal frameworks.

Inducted into the Grammy Hall of Fame and selected as a "Core Collection" record by the Penguin Guide to Jazz, Milestones is as famous for its title track – widely considered ground zero for modalism and bolstered by Jones' hallmark "Philly Lick" rim shot – as the players that produced it. The launching pad for many of Davis' improvisational flights, the album teases the explorations Coltrane would soon chase. Davis' own solo work broaches territories that far exceed what he had done in his bop-rooted past. Every song is a highlight.

Take the bravado "Dr. Jackle," featuring a hot-foot pace and bebop strains, or "Sid's Ahead," which continues the album's blues theme while juggling edgy harmonics and inside-out structures. On "Billy Boy," distinguished with an arco bass solo from Chambers, Garland gets a turn in the spotlight and channels the openness practised by one of his heroes, Ahmad Jamal. Even more instructive is the band's reading of Dizzy Gillespie's "Two Bass Hit." Three years removed from the version Davis and company recorded for the trumpeter's Columbia debut, this interpretation demonstrates the extent to which the group had jelled in a relatively short amount of time.



Then there's "Straight, No Chaser," the definitive rendition of Thelonious Monk's signature piece. Coltrane's marbled playing pulls at the tune's borders, Adderley takes liberty with solos, and Davis dances around his mates, at one point quoting "When the Saints Go Marching In" while demonstrating his knowledge of tradition and casting an eye towards the future.

About that future. Garland already had one foot out the door during the Milestones sessions to the extent Davis spells him on "Sid's Ahead." Jones would stick around for a bit longer but soon plot his exit. History proves Davis navigated the changes with visionary aplomb. Yet the chemistry, excitement, and beauty the sextet achieves on Milestones cannot be overstated. This reissue helps put the album in proper perspective – and presents the music the fidelity it deserves.

In March 2022, EMPIRE assembled some of Africa's finest singers and songwriters, the musical equivalent of Ocean's Eleven, at a writing camp in San Francisco. The result is Where We Come From, Vol. 1, a 15-track compilation featuring Afrobeats royalty Wande Coal, Tiwa Savage and Olamide as well as Tanzanian duo Navy Kenzo, Cape Verde's June Freedom and a host of other stars across Nigeria and Ghana - KiDi, Fireboy DML, Kizz Daniel, Tolani and more. The sounds traverse East, West and South of the continent, incorporating drill, amapiano, trap and Afrobeats in fashioning an album that at once sandwiches luxury between lust and love while also being a flagpost to hedonism. The cover art, created by Nigerian artist Dricky Stickman, incorporates all 15 songs into the final product, illustrating unity, community and culture. “This project ‘Where We Come From, Vol. 1’ is a perfect example of music having no limitations,” Kareem Mobalaji, Regional Head West Africa said. “Yes we are from Africa, but we are truly determined to reach the entire world with our voice, which is music.”

Merging a dynamic curio of melodic guitars, disconcerting monologues and a rhythm section both technical and unruly, London’s Legss create a wholly unique and mesmerising sound. New EP Fester is a literary and disarmingly lyrical collection of art-rock songs laden with ideas and sun-licked beneath the bus smog of anxious skies.

Even when leaning into more melodic territory, there’s a pervasive uneasiness that underpins both the vocals and instrumentation. Just as you drift into the relaxing arpeggio flow, vocalist Ned Green’s soft soliloquy accelerates to an exasperated yelp and we’re jolted by discordant noise-rock stabs dragging us into Legss’ deliciously feverish and poetic world.

“The lyrics were written in the summer, when you’re sun-drunk and romantic, and the buses look like they’re kissing as they cross each other, and everyone’s got a cold sore. But beneath all the sunny games there’s a bittersweet desire to be someone or something else.” - Legss

Fresh from supporting the likes of Pom Poko and Hotel Lux, Legss release Fester via The State51 Conspiracy on 16th June. Pressed on 12” black vinyl in a sealed polybag liner.

Richard Pryor contained multitudes, each fully inhabited character funnier and more
insightful than the last, so it’s no wonder when he took the stage at The Comedy Store in
Hollywood in 1973, it’d be a full 15 minutes before he spoke to the adoring audience as
himself. No, he needed to start where he started, on the streetcorner, with all the wit,
wisdom, and general jackassery of Wino & Junkie. Throughout a set full of hard jokes and
detailed character sketches (including the men of the Saturday night police lineup in his
hometown of Preoria, Illinois—the first and riskiest stage he knew), the audience has the
chance to get caught up in the silliness so inherent to Pryor while never losing sight of the
issues America had yet to face (and hasn’t still). There are sex jokes that hit so hard the
women in the audience take an audible refractory period, drug advice that has you weighing
the relative trip-laden merits of dope and acid, and a call-and-response on sandwiches that
proves the irresistibility of zealous Black midwestern preachers; there’s a litany of celebrities
whose names and projects have blurred in Pryor’s mind, but whose faces and friendship so
clearly light him up; there’s even fighting advice (don’t fight Italians, their mothers get
involved, and try to avoid a paternal cowboy whuppin’, because no one wants to get hit with
a chair). And then you get hit with the hardest punch: Pryor reaching out from 50 years past
to make the truth plain. You never hear about civilians accidentally killing cops, so why is it
that cops are always “accidentally” killing Black men? As it turns out, 1973 and 2023 aren’t so
far apart that the legendary Richard Pryor can’t bridge the gap.

Bristol multi-instrumentalist, producer and nature freak Will Yates offers a new record from his Memotone alias, an expansive, hypothetical revue titled How Was Your Life?

Launching from terrains recognizable to fans of Will’s extensive, restless discography, How Was Your Life? packs up his penchant for baroque druid folk, homespun electronics and weightless woodwinds and explodes them into glistening, fractal star dust.

Instigated by the purchase of an antiquated Y2K era guitar synthesizer, the record was produced over the first half of 2022, in a large part a result of in-studio improvisation and carved by equipment that offered both possibilities and parameters that Will relished and explored to the nth degree. The Roland GR33 not only provided sublime guitar sounds but also empowered the guitar to convincingly mimic fretless bass, tabla and a vast percussive array, also summoning an artillery of uniquely outre atmospheres over the course of the record. The resulting concoction sounds familiar yet subtly, unshakeably otherworldly, shaping up as perhaps the most honed, energized and beatific Memotone album to date.

Paradise Drips gently lifts off with wobbly guitar, randomized sequences and unidentifiable percussive elements situating us somewhere in an unearthly realm, before Open World zaps the serotonin receptors and gushes with ecstatic warmth, it’s quietly insistent soft disco shuffle and levitational fretless driving towards a totally blissed and very soft “drop”. Forest Zone sees Memotone deep in the green, with a loose, propulsive groove and dancing flutes stumbling into a medieval ritual in the clearing halfway through, and Glow In The Dark deftly bounces between spacey ambience and an undulating no wave vamp. Carved By The Moon is a delightfully melted classical cut, while Canteen Sandwich offers the record’s most explicitly nod to modernity in the form of a nimble drum workout with samurai synths and melodic percussion that heaves towards a genuine peak. Lonehead immediately backs right off, viscerally melancholic clarinet and bubbling fx making for the records most hefty introspective moment, before Walking Backwards simmers all the way down on an wistful arpeggio, rooting back in earthly reality with charmed rhythms and jazzy tunings. Catharsis complete, Memotone is onto the next incarnation.

Will Yates has been making music as Memotone since 2010, releasing music on labels like Black Acre, Disktopia and Accidental Meetings, also releasing music as O.G. Jigg and Half Nelson. He’s worked as a producer, session musician and live performer on a broad spectrum of projects, and recently provided source sounds that made up Batu’s “Opal” on Timedance.

How Was Your Life? was written, produced and mixed by Will Yates. It was mastered by Chris Wang. Art and design by Hugo Bernier.

Total Annihilation Beach is the latest collection from Caveman LSD, one of the handful of monikers of Special Guest DJ / uon / sometimes just shy. Their releases under this name have always had the character of sonic transmissions – crushed sine-waves hurtling out of a wormhole, remote pirate radio bandwidths, whale-song picked up on radar, and so on. Here, the signal seems to come from a place whose remoteness is not defined by distance, but adjacency: these are alternate reality bops.

What does it sound like? Kind of solarpunk, but dirty; not at all an artifact from a hopeless culture. Percussion at the forefront; warm timbres and tones – never have I heard this producer play with tabla and tambourine loops as they do in “Lost Hours,” the opening track of the EP. The buildup holds tension and dynamics tight, with a vocoder-smoothed moan – sampled from the caveman’s own voice, on the low – alternating between two notes; when the beat decompresses for the first time two and a half minutes in, one hears the amorphous and cavernous pads we know so well from shy. “Bottle Service Angels” picks up with another acoustic drum loop, and a clap entering 18 seconds in swings the rest of the track into your hips – there’s even an alternate percussion interlude

sandwiched in the middle. The drums are turned over by a distorted and delayed wave, almost like a cop siren, which finds an answer in the track’s final seconds: we hear them blaring, but distantly (the demo version of this track, from spring 2020, was called “ACAB Beat”).

The B side begins with a textured, heaving slab of ambience: “The Sun Will Sink Into the Ocean.” It is perhaps the sun one sees setting over “Total Annihilation Beach” – a phrase that came to shy while tripping on LSD in San Francisco, which felt to them like a post-apocalyptic haven for the rich. Seems on point. There is a machinic repetition to the track, but also sweeping curtains of sound that move like mist. But what comes at nightfall? Not cops, not raiders nor bottle service angels – nothing, actually. Just a void into which one lobs praise. “H6 Remix” adapts a Mesopotamian hymn to the divine wife of a moon deity, dated to 1400 BCE; the strings of the sampled oud playing it out are rich and trail beautifully with reverb. Caveman LSD’s gesture of remixing such a song reads sincere – the reality we inhabit is likely just as brutal as the one to which these transmissions belong; however, in both, honor exists. Love follows.

Mark Grusane's latest offering, A House of My Own is a testament to his long-standing discipleship to the craft of producing hard-hitting house tracks with authenticity and depth. The title-bearing opener on A1 strongly demonstrates this notion with a slew of raw bass stabs and emotive pads leading through a battery of driven percussion in a manner that calls to mind those early 90's Mr. Fingers records. While A2's Essence of Life (Afterhours Mix) takes us further into the darkness with a spiraling timber of percussions lain over distorted vocal arrangements, the "Daytime Mix" of A3 builds on the momentum of its predecessor with a robust uplifting synth lead and sounds of atmospheric ambiance added to the mixture, effectively taking the composition to an entirely new level. B1 kicks off punching and swinging with the track Knock knock, Who's there?, a ferocious gut-puncher of a track that sees classic Chicago "beat-track" style 909 arrangements lay over an intense saturated 303 bassline that relentlessly worms its way throughout the mix with a booming urgency. B2 sees a turn for the naughty on the track Love And Lust with a xxx-rated vocal line slithering its way through the track, sandwiched in between high-pitched keys and a slinky drumline. Finally, Jack Your Ass Off closes out the album and ties it all together on B3 showcasing the full-fledged insanity of the classic trademark Chicago "jack" style that sees the title of the track frantically screamed over and over though a sampler amid hard hitting drums and 303s engineered to make you dance like a freak. A serious 'must have' for any selector or music enthusiast.

Das ikonische belgische DJ-Duo 2ManyDJs, bestehend aus den Brüder Stephen und David Dewaele, feiert das 20-jährige Jubiläum ihres Albums 'As Heard on Radio Soulwax Pt. 2' mit einer besonderen Re-Issue. 2002 erschien es ursprünglich nach einer Reihe von Radioshows der beiden Brüder, damals vor allem bekannt als die Köpfe hinter der Electronic/Indie-Rock Band Soulwax. Die Re-Issue erscheint mit dem Foto von Richard Young auf dem Cover, das ursprünglich als Cover vorgesehen, aber nach Rechtsstreitigkeiten mit Tipp-Ex verfremdet wurde.

Emotional Rescue reaches its 100th reissue in its 10th year with a landmark, a collection of previously unreleased songs from Brenda Ray. Encouraged and cajoled since the label's inception, Brenda Ray's (Kenny) music has gone from cult curio to cult status in that time, as her mix of DIY/post punk, dub reggae, jazz and pop transcends reached admiring audiences.

Following the completion of Naafi Sandwich in 1985 and the subsequent recordings as Brenda And The Beach Balls - the sought after Volume 1 LP in 1986 and three singles on Siren/Virgin in 1987/88 - her releases might of stopped for almost two decades but she never stopped recording.

The 10 songs show not only continuous activity in her North-West home studio, but to be consistently creative, moving forward and relevant. Hip-Hop, Street Soul and House all feature alongside Brenda's unmistakeable Be-Pop-Dub-Pop song writing. Working as always with partner Gerry Kenny aka Sir Freddie Viadukt, plus a cohort of friends joining across the sphere.

Starting with 'Universal Purpose', poet and friend Eugene Lange delivers a lanquid breakbeat-dub sermon on struggle and love, as Brenda's vocals accompany. 'Spirit's So High' captures House music's dawning optimism to perfection, a swirling, uplifting 4.30 minutes as you'll ever hear. The doo-wop shuffle of 'MMMMoon Warp' experiments with Coldcut-lite sampledlica cut ups, alongside Brenda's unmistakable breathing-singing delivery, before 'Love's The Most' and 'Hope' are classic Ray love sentimental paeans, backed with latter day Balearic musicality.

Eugene Lange returns with the rap attack of 'Dancehall Exocet'. A conscious poetic stream over "Minister of Noise" industrial beats with backing and counter from Brenda, shows the breadth she was exploring at this time. Crude synth bass and chiming 4/4 percussion follow on 'This Was No Dream' with soft, humming vocals encapsulating some proto-house romantic escapism, before Eastern influences mix with flute, strings, bells and a doo-wop skiffle on the aptly named 'Tequila Sam'.

The album closes with a nod to what's gone before, in 'Return Of The Theme From A Tall Dark Stranger', an update on her "Volume 1" classic, all is replayed, overlayed and "mad"-mixed, Brenda's studio mastery shining through. An acoustic return of 'Love's The Most' bring the album to completion, but this is by no means the end but hopefully, the start of more undiscovered and discovered mini-masterpieces from Brenda Ray and friends to see the light of day.

BACK IN STOCK

Swaying & icy electronic dub compilation straight from DELODIO STUDIO SESSIONS.
Programmed and produced by F.M. Cut and compiled by Fa_Fane

Repress of Froid Dub's "An Iceberg Cruising The Jamaican Coastline" has a confirmed docking time.

This version will be on regular black 140g vinyl.

First vinyl issue of the sole The Dead Texan album originally released in 2004. Gatefold Sleeve.

“Stars Of The Lid’s Adam Wiltzie presents a collection of drone compositions that he considered too aggressive for his parent band—which means they range somewhere between a whisper and a shout. The sense of cathedral-like reverence is balanced with extreme intimacy.” — 8.2 Pitchfork

“This is quite possibly the best music available for slowly drifting into dreamland. Equal parts intrigue and sedative, The Dead Texan is an elegantly hypnotic album that manages to freeze time in addition to passing it.” —Tinymixtapes

“The Dead Texan remains a remarkably subtle and tranquil work. Disarmingly lovely...” —Textura

Another sweeping album from STARS OF THE LID/A WINGED VICTORY FOR THE SULLEN and AIX EM KLEMM member ADAM WILTZIE, this time under his DEAD TEXAN moniker.

Eleven mini-symphonies of nocturnal psychedelia and reverie-inducing soundcraft, propelled with piano, strings, and Wiltzie's surreal smear of guitars.

2022 Repress

Multi-faceted artist Calibre today shares his sixteenth studio album "Feeling Normal". The album is out now to pre-order on Vinyl, CD and on digital platforms via his own independent imprint Signature Recordings.

The record is his first bonafide 140bpm record and a staggering body of work that shows the genius levels of one of electronic music's most respected auteurs. Across the 13 tracks, he transcends through space and time, creating music that will take the listener on a weighty sonic journey. The album announcement is accompanied by two dub versions "Bad" and "Badder" deconstructed from the track "Badman" with DRS from Mark Ernestus available via his Hardwax store January 29th and Bandcamp February 12th. "Getting to work with Mark Ernestus is a real honour, I collected Basic Channel, Rhythm & Sound and his other work for many years and still do. It's hard to avoid the influence of this guy in electronic music across genres and so it is a real pleasure to have him do his thing with the Badman tune which I think sounds closely related."

All of the tracks on the record have been road-tested in Calibre's DJ sets over the last 2/3 years with many of them being sought-out by his hardcore fans. It was only a matter of time then that he put them out for all to consume. With a nod to the dancefloor, the clear idea for the album came about following the release of his most personal album to date "Planet Hearth". "It still works in the headspace but ultimately it's been written for the sweaty club experience we miss now, also after an album like Planet Hearth it felt very liberating to do," he remarks. When writing albums, he often just puts it down to the general chaos of life, not citing any one influence but generally just waits to see what comes. With one of the tracks on the album written 7 years ago on the island of Valentia, It became a project that he spent the intervening years collecting tracks for, not really knowing when he was going to put it together as an album. "The whole album is special to me, everything on there has import and meaning beyond for me, I have spent much time on all these and hope they are special for other people too."

Belfast-born, Berlin-based Calibre - AKA Dominick Martin - shows no sign of slowing down. As a producer, DJ, songwriter, multi-instrumentalist and painter, he is one of the most unique and inspiring living artists. With a career spanning two decades, his ability to remain underground whilst being one of the most-respected is testament to who this enigmatic artist is. To this day, he has never been remixed and has a seriously impressive amount of unreleased music under wraps. With everything on hold and gigs on the backburner, this record is exactly what the world needs right now.

Arguably among top ten best metal albums of 2015, no one member in Veil of Maya’s roster is overshadowed in this new direction. This time around, the entire band’s talent is showcased more evenly than in previous albums. Graduating from six string baritones to sevens and upping the ante with recently acquired vocalist Lukas Magyar, Veil of Maya’s Matriarch delivers a little less flash while still holding on to the thrashy-ness that fans have grown to love.

Though Magyar’s high screams, low growls, and clear vibrato are brought to the table on a glorious china plate encased in a catchy melody sandwich, the introduction of the first clean vocals since the band’s inception isn’t the most notable change from previous vocalist Brandon Butler, who left the band during Matriarch’s inception due to “creative differences.”

While Veil of Maya has always included little easter eggs in their track titles, such as the Game of Thrones headnod “Winter Is Coming Soon” from their 2012 album Eclipse, Martiarch goes further by being their first album to follow a female inspired theme. Guitarist Marc Okubo fit the album’s concept around strong female characters from different fictional genres. Limited vinyl version available on purple and baby blue vinyl with black splatter

Baby? are Erin Allen (Violence Creeps, High
Castle) and Max Nordile (Preening, Violence
Creeps, Uzi Rash).

 This collaboration sprang from a singular epic
recording session. “Even though we hang 11 times
weekly, shouldn’t we remotely pile on overdubs ad
infinitum for havoc injection?” Did they really say
that? Did they really do all this on purpose?

 For fans of Wild Man Fischer, Minutemen, Electric
Miles, Contortions, The Fugs, Preening.

 Punked-up no-wave improv skronk to get you
going all night.

 Includes poster insert.

This album is the rarest of Soul Jazz’s Deutsche Elektronische Musik series!

Purveyor of lovecore, fabba and cakebeat, bestie and all-round DJ-inspo Angel D’lite blesses Ritual Poison with her ‘Re4mat’ EP.

‘Werk My Body’ is a swirl of feminine energy, empowered vocals blending with hardcore breaks and hyper bass, a four four switch warping temporally before the track drops again. Local Group return the remix favour from their own recent EP, slowing ’Werk My Body’ to a 140 emo-banger, trance melodies sandwiching a proggy mid-section, the bass bumping throughout.

‘R u Ready’ keeps the NRG and BPMs high, breakbeats rolling over booming sub and dubbed out rave stabs, the sexual charge of the female ragga vocal frank and unashamed. ‘Re4mat’ signs off, the hallowed B2. Drawing on rave anthems of the past, it looks boldly to the future. 
“This particular historical juncture holds possibilities for change that we’ve never before experienced,” declares Angela Davis, as the euphoria subsides for a moment. ‘Re4mat’ and start again.

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

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

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

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

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

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

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


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

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

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

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

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

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

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

Die Rough Trade Counter Culture Compilation, aller Lieblingssammlung von musikalischem Konfetti ist zurück für eine weitere Zusammenstellung einiger der Highlights des Jahres 2021. Bereit, Musikliebhaber*innen mit einigen der besten Tracks des Jahres zu überschütten, die von den Mitarbeiter*innen der Londoner Rough Trade Shops ausgewählt wurden. Einige werden bekannt sein, andere nicht, aber sie sind alle grossartig. 20-Track-2LP auf umwelltfreundlichem Doppelvinyl.

In 1981, Brenda Ray / Naffi Sandwich released the sweetly yearning “D’ Ya Hear Me!” The song is now considered a post-punk classic, and here we have a warm digi-reggae version sung by Kyoto composer/producer/vocalist NTsKI (“Natsuki”), with backing tracks performed, recorded and mixed by Osaka-based producer/guitarist 7FO ( “nana f o” ). Also on this release are a karaoke version, plus two remixes, the first a dancehall-flavoured version by Bim One Production, a Tokyo electro-reggae production duo. The second mix is from Nagoya-based electronic producer CVN, who provides a harder version. This revisioning of a much-loved classic is available on 10" and CD.