Cerca:sat 1

WRWTFWW Records is proud to announce the first ever release of the long-lost original motion picture soundtrack from the 1988 cult horror comedy sensation Ghoulies II by the incomparable Fuzzbee Morse. Digging deep to uncover a true gem of the VHS era, this limited-edition vinyl release (500 copies worldwide) marks history in the making as a piece of film score lore is resurrected from the depths of oblivion. The LP is packed with 39 tracks and features an exclusive artwork by French illustrator Pierre Thyss, as well an obi and composer notes.

The captivating melodies that once played hauntingly in the background of Ghoulies II were long believed to be lost forever. It took over 30 years and Fuzzbee Morse's unwavering determination to dig out the legendary recordings – and restore them for full audio pleasure!
The superb soundscape of Ghoulies II perfectly captures the chilling and wacky essence of the cult movie, as well as its creepy carnival setting. Morse, citing influences such as Bernard Hermann, Frank Zappa, and Igor Stravinsky, flexes his multi-instrumentalist skills, flowing with ease between magical fairground elements (with brilliant use of calliope, tuba, flutes and sparkly sounding synthesizers), dark atmospheres and frightening attacks (tribal percussion, strings, along with dissonant, atonal gongs, bowed cymbals), and goofy moods (bassoon, bass clarinet, glockenspiel, trumpet, clarinet). It’s big cinematic horror movie music with a lighter comedic touch – the 80s live again!

To complete this collector's edition, French illustrator Pierre Thyss (the man behind the WRWTFWW Records logo) lends his (immense) talent to provide awe-inspiring visuals that flawlessly encapsulate the juxtaposition of horror and comedy.

Ghoulies II follows the release of the full uncut soundtrack of Ghoulies (1985) which was released on vinyl for the first time ever by WRWTFWW Records in 2020 alongside soundtracks for other Richard Band-composed, Empire Pictures-produced classics: TerrorVision and Troll. All these 80s horror favorites are still available – complete the collection now!

2023 VINYL REPRESS.

IN HER OWN WORDS...

Ruins was made in Aljezur, Portugal in 2011 on a residency set up by Galeria Zé dos Bois. I recorded everything there except the last song, which I did at mother's house in 2004. Iʼm still surprised by what I wound up with.

It was the first time Iʼd sat still for a few years; processed a lot of political anger and
emotional garbage. Recorded pretty simply, with a portable 4-track ,Sony stereo mic and an upright piano. When I wasnʼt recording songs I was hiking several miles to the beach. The path wound through the ruins of several old estates and a small village.

The album is a document. A nod to that daily walk. Failed structures. Living in the remains of love. I left the songs the way they came (microwave beep from when power went out after a storm); I hope that the album bears some resemblance to the place that I was in.

Edinburgh (via Bristol) producer, DJ and balearic psychonaut takes us on a playful exploration through his cosmic arboretum on the Memory of Stolen Bush EP, with four of his own tracks and a very tasty remix from Berlin’s Glenn Astro. Café Lotito draws us into a world of atmospheric chug with dreamy whistles, rich, saturated pads and sneaky acid lines sitting atop a tasteful break and a steady, thudding kick. Gottlieb's Lament drops the tempo further, into a shimmering, melancholic lagoon of dubby psychedel ia, with marimbas and melodicas dancing amongst the mournful, lysergic synth work.
The B side steps straight into the dance with the EP’s namesake In The Shadow Of The Oleander, a pulsing, acidic drum machine workout, bustling with percs and bleeps and cru nchy rhythms, all set to a backdrop of soaring pads and drifting harmonics. Glenn Astro’s remix of Oleander pumps things up into an epic, maximalist realm with huge synth lines and a squarely pounding rhythm section turning the playful roller into a peak ti me thumper. Finally the digital bonus track Memories of Hare uses surrealist snippets of colour to pay tribute to a much missed former Bristol haunt, dropping the tempo back down and putting melody and atmosphere front and centre, with a ghostly marimba l eading the procession beside staccato guitars and shimmering synths unknown

Konerytmi is back for his final EP on the Telomere series!
Here we have again a SIX track mini LP! With a blend of breaks, electro, IDM and tech house, there’s something for all hours of the night!

Very limited black copies as always with a few colored copies available via the Wex bandcamp, be quick!

Sampha kündigt mit "LAHAI" sein mit Spannung erwartetes zweites Album an, das am 20. Oktober auf Young erscheint. Nach dem Namen seines Großvaters väterlicherseits benannt, der gleichzeitig auch Samphas zweiter Vorname ist, fließt die Musik auf "LAHAI" zwischen der Ehrfurcht vor dem Leben und der Magie der weltlichen Existenz und beschreibt das Chaos, das man erlebt, wenn man sich dem Kreislauf des Lebens und dem Jenseits stellt. Auf den 14 Tracks hat Sampha enge Freunde und Kollegen zusammengerufen - darunter fantastische Künstler wie Yaeji, Léa Sen, Sheila Maurice Grey (Kokoroko), Ibeyi, Morgan Simpson (Black Midi), Yussef Dayes, Laura Groves und Kwake Bass. Im Gegensatz zum Vorgänger "Process" ist "LAHAI" ein eher kollaboratives Album. Die neueste Single "Only", die von einem Musikvideo von Dexter Navy in Zusammenarbeit mit Sampha begleitet wird und auf dem Vorab Track "Spirit 2.0" folgt, zeigt einen extrem lebendigen Sampha, der melodisch über einen fragmentierten Hip-Hop-Beat mit Co-Produktion von spanischen Musiker El Guincho singt. Im Juni kehrte Sampha zum ersten Mal seit fünf Jahren für seine Satellite Business Residencies in London und New York auf die Bühne zurück. Das einzigartige Setup, bei dem Sampha und seine Band in der Mitte des Raums auftraten, ermöglichte den Fans einen intimen Zugang zu der improvisierten Performance neuer, unveröffentlichter Musik und alternativer Arrangements von Samphas Katalog, die das Publikum "wie gebannt" (Pitchfork) zurückließ. In diesem Herbst wird Sampha eine größere Version der Satellite Business Live-Show auf Tournee mitnehmen. Den Anfang machen mehrere Abende in London in der St. Johns at Hackney Church im Oktober, bevor er nach Nordamerika zurückkehrt, um in großen Städten aufzutreten: Los Angeles, Toronto, New York City, Chicago, San Francisco, Washington D.C., Philadelphia und Atlanta. Anfang Dezember kehrt er nach Europa zurück und spielt in Berlin, Amsterdam und Paris. Wie sein Schöpfer lässt sich auch "LAHAI" nicht in eine Schublade stecken. Das neue Album ist eine Mischung aus Jazz, Soul, Rap, Dance, Jungle und westafrikanischer Musik, mit der Sampha seine produktionstechnischen und stimmlichen Ambitionen auf ein neues Niveau hebt. Als begnadeter Sänger , Songwriter und Produzent ist es kein Wunder, dass Künstler wie Kendrick Lamar, Stormzy, Travis Scott und früher auch Drake, Solange, Frank Ocean, Beyoncé, Lil Wayne und Alicia Keys ihn für seine unnachahmliche Stimme sowie seine Beiträge zum Songwriting und zur Produktion ihrer Musik um Unterstützung baten. Zu seinen früheren kreativen Partnerschaften gehören die Modedesignerin Grace Wales Bonner, das Shy Light Zine mit Durimel (der auch das LAHAI-Artwork gedreht hat), sein Process-Film mit dem Regisseur Kahlil Joseph und kürzlich die Zusammenarbeit mit Jonny Lu, mit dem Sampha das Artwork für sein LAHAI-Album und sein neues Logo entwickelt hat. Wenn "Process", Samphas 2017 mit dem Mercury-Preis ausgezeichnetes Debütalbum, einen Künstler zeigte, der seinen eigenen Platz in der Welt suchte und schließlich auch fand, ist "LAHAI" eine Übung in der radikalen Akzeptanz und Freude am Leben und der Schönheit der Reise bis hierhin. Willkommen zu Samphas nächstem musikalischen Kapitel: LAHAI.

Sampha kündigt mit "LAHAI" sein mit Spannung erwartetes zweites Album an, das am 20. Oktober auf Young erscheint. Nach dem Namen seines Großvaters väterlicherseits benannt, der gleichzeitig auch Samphas zweiter Vorname ist, fließt die Musik auf "LAHAI" zwischen der Ehrfurcht vor dem Leben und der Magie der weltlichen Existenz und beschreibt das Chaos, das man erlebt, wenn man sich dem Kreislauf des Lebens und dem Jenseits stellt. Auf den 14 Tracks hat Sampha enge Freunde und Kollegen zusammengerufen - darunter fantastische Künstler wie Yaeji, Léa Sen, Sheila Maurice Grey (Kokoroko), Ibeyi, Morgan Simpson (Black Midi), Yussef Dayes, Laura Groves und Kwake Bass. Im Gegensatz zum Vorgänger "Process" ist "LAHAI" ein eher kollaboratives Album. Die neueste Single "Only", die von einem Musikvideo von Dexter Navy in Zusammenarbeit mit Sampha begleitet wird und auf dem Vorab Track "Spirit 2.0" folgt, zeigt einen extrem lebendigen Sampha, der melodisch über einen fragmentierten Hip-Hop-Beat mit Co-Produktion von spanischen Musiker El Guincho singt. Im Juni kehrte Sampha zum ersten Mal seit fünf Jahren für seine Satellite Business Residencies in London und New York auf die Bühne zurück. Das einzigartige Setup, bei dem Sampha und seine Band in der Mitte des Raums auftraten, ermöglichte den Fans einen intimen Zugang zu der improvisierten Performance neuer, unveröffentlichter Musik und alternativer Arrangements von Samphas Katalog, die das Publikum "wie gebannt" (Pitchfork) zurückließ. In diesem Herbst wird Sampha eine größere Version der Satellite Business Live-Show auf Tournee mitnehmen. Den Anfang machen mehrere Abende in London in der St. Johns at Hackney Church im Oktober, bevor er nach Nordamerika zurückkehrt, um in großen Städten aufzutreten: Los Angeles, Toronto, New York City, Chicago, San Francisco, Washington D.C., Philadelphia und Atlanta. Anfang Dezember kehrt er nach Europa zurück und spielt in Berlin, Amsterdam und Paris. Wie sein Schöpfer lässt sich auch "LAHAI" nicht in eine Schublade stecken. Das neue Album ist eine Mischung aus Jazz, Soul, Rap, Dance, Jungle und westafrikanischer Musik, mit der Sampha seine produktionstechnischen und stimmlichen Ambitionen auf ein neues Niveau hebt. Als begnadeter Sänger , Songwriter und Produzent ist es kein Wunder, dass Künstler wie Kendrick Lamar, Stormzy, Travis Scott und früher auch Drake, Solange, Frank Ocean, Beyoncé, Lil Wayne und Alicia Keys ihn für seine unnachahmliche Stimme sowie seine Beiträge zum Songwriting und zur Produktion ihrer Musik um Unterstützung baten. Zu seinen früheren kreativen Partnerschaften gehören die Modedesignerin Grace Wales Bonner, das Shy Light Zine mit Durimel (der auch das LAHAI-Artwork gedreht hat), sein Process-Film mit dem Regisseur Kahlil Joseph und kürzlich die Zusammenarbeit mit Jonny Lu, mit dem Sampha das Artwork für sein LAHAI-Album und sein neues Logo entwickelt hat. Wenn "Process", Samphas 2017 mit dem Mercury-Preis ausgezeichnetes Debütalbum, einen Künstler zeigte, der seinen eigenen Platz in der Welt suchte und schließlich auch fand, ist "LAHAI" eine Übung in der radikalen Akzeptanz und Freude am Leben und der Schönheit der Reise bis hierhin. Willkommen zu Samphas nächstem musikalischen Kapitel: LAHAI.

Repress!

Four Units is a kind of Japanese jazz “all star”. Recorded in Tokyo on April 1969, it was released the same year on Union records.
On the first two long songs that open this album, “Four Units” and “Dull Slumber”, we can feel the influence of the “avant-garde” scene of US jazz (and in particular ESP Disk), without however the music sounding too “free”. A whole new vibe on the astonishing cover of “Scarborough Fair”, in a modal style, where the shadow of McCoy Tyner seems to hang over the piano.
The next two tracks, “Rainbow Trout” and “Black Bass”, are still pretty much along the same line, sometimes oscillating towards “hard bop”, the album ending in a blaze of glory with a solo by Masahiko Togashi. While this album had a second pressing in Japan in the 70s, this is the first time it has been reissued with its gatefold cover. Musicians : Tenor Sax, Flute - Akira Miyazawa Piano - Masahiko Sato Drums - Masahiko Togashi Bass - Yasuo Arakawa Recorded in Tokyo, April 2 and 25th 1969

Toronto label Selections has become a firm favourite with house heads and now starts a nice sideline with its Special Edition 2023 series. This one welcomes Lea Lisa with her track 'Conversation Between Us' (Heide Club Mix) which is straight up underground house for the heads. Then comes an unreleased Javonntte remix of Evenn's 'One For Love' that pairs things back to raw dub essentials. Dan Only's 'Love Saturates' then gets a fine and formerly unreleased remix by Italy's Black Loops that has pristine drum programming and a fine bassline. Add in Sean Roman's jazzy dancer 'Sir William' and Jamn Ensemble's 'Convection' and you have a timeless house EP.

BLUE-BLACK COLOURED VINYL! LIMITED TO 100 UNITS
Irakli’s new album is due to come out October 2023 on Live at Robert Johnson. Mechanical Moon is a retrofuturistic adventure of beautiful compositions and pulsating rhythms which are weaved together over the span of eight tracks.

We are immersed into evocative atmospheres, full of intricate textures. This is techno where you close your eyes and board an ocean liner that slowly rises and floats towards the moon.

Happy human with sad eyes roamed the neon-lit streets of the artificial island. This section of the metropolis had been designed as a necessity more than any other amenities. It had been allocated a budget surpassing the one for waste management in a city housing over a billion inhabitants.

Society had managed to eradicate love, yet it still grappled with untamed primal instincts such as dancing, sex, or violence. The island provided a discreet haven, away from the prying eyes of telescreens that silently stared into all souls. Similar to Las Vegas centuries ago, it was a safe space where anything was fair game.

Once there, night time lasted all day. Everything retained an analog essence. Music emanated from vintage record players. Amidst the laughter and tears, the artificial glow of the mechanical moon had become the last reminder of life outside.

A life so repetitive that he had been consumed by the desire to transform into a machine or a human satellite. Yet, breaking the cycle in such a manner remained impossible. And so, he wandered for hours on the island, among the weary faces.

Happy as one could be.

Repress!

The Pretty Things Classic Album S.F. Sorrow re-issued with original UK artwork on Madfish. This vinyl edition of the album re-mastered from the original analogue tapes. It is pressed on 180g heavyweight vinyl and packaged with the original UK artwork gatefold sleeve, with cover art from Phil May.


The Pretty Things created some of the most exciting and innovative records of the late sixties and early seventies. Winners of the Hero award at the 2009 Mojo Honours, the band have been name checked over the years by an array of artists ranging from The Clash, David Bowie and Aerosmith through to The Libertines and Kasabian.


'SF Sorrow' is one of the great classics of the psychedelic era. The album stands favourable comparison with 'Sgt Pepper' and 'Piper At The Gates Of Dawn' as one of the defining records of the time. Originally recorded at Abbey Road in 1967 and 1968 it was the first and the most complete rock-opera to be recorded and released, pre-dating 'Tommy' by a full year.

The Pretty Things are active today and still play live regularly.

"a psychedelic masterpiece" - The Guardian

Nun sind sie mit verändertem Line-up (für Ken Owen kam Daniel Wilding; Amott wollte an der Reunion nicht teilnehmen) wieder da
und präsentieren mit „Surgical Steel“ ihr neues Album, das den Sound der früheren Alben perfekt zusammenfasst. Sämtliche
Schaffensphasen der Band werden erstklassig berücksichtigt, entsprechend bedient und dürften jeden Fan zufriedenstellen.

American blues musician Buddy Guy is an exponent of Chicago blues and influenced many prominent guitarists, including Jimi Hendrix, Jimmy Page (Led Zeppelin), Eric Clapton, and John Mayer. His 1998 album Heavy Love is one of his fine blues-rock records. Besides two songs of his own material, he covered classics including Willie Dixon “I Just Want to Make Love to You", Tony Joe White "Did Somebody Make a Fool Out of You", ZZ Top "I Need You Tonight". It is heavier compared to many of his other recordings, but he still finds his way back to the blues.

Heavy Love is available as a 25th anniversary edition of 1500 individually numbered copies on pink & purple marbled vinyl, housed in a gatefold sleeve.

Sampha announces the full details of his highly-anticipated, sophomore album LAHAI, out October 20th on Young. Taken from his paternal grandfather’s name, which is also Sampha’s middle name, LAHAI revels in the awe and magic of our existence, synthesizing the exquisite chaos that one experiences confronting the cycle of life and the beyondness. Spanning 14-tracks, with contributions from some of Sampha’s closest friends, peers and collaborators including: Yaeji, Léa Sen, Sheila Maurice Grey (Kokoroko), Ibeyi, Morgan Simpson (Black Midi), Yussef Dayes, Laura Groves and Kwake Bass, LAHAI, in contrast to Process, is a communal affair seeing Sampha explore the many ways in which we as humans connect to each other, and to something bigger than ourselves. On the album’s latest single “Only,” premiering today via a new music video directed by Dexter Navy in collaboration with Sampha, which follows the recent “Spirit 2.0,” we meet a newly energized Sampha, as he spits melodically over a fragmented hip-hop hued beat with co-production from El Guincho.

Not unlike its maker, LAHAI defies clear categorization. Spanning jazz, soul, rap, dance, jungle and west African music, LAHAI sees Sampha elevating his production and vocal ambition to great new heights. A notable singer, songwriter and producer, it’s no wonder that artists like Kendrick Lamar, Stormzy, Travis Scott and previously, Drake, Solange, Frank Ocean, Beyoncé, Lil Wayne and Alicia Keys have all tapped the artist for his inimitable voice plus songwriting and production contributions to their music. His work expands across multiple disciplines, with previous creative partnerships including the fashion designer Grace Wales Bonner, the Shy Light zine with Durimel (who also shot the LAHAI artwork) his Process film with director Kahlil Joseph, and most recently creative director Jonny Lu, with whom Sampha worked to create the LAHAI album artwork and logo.

If Process, Sampha’s 2017 Mercury-Prize-winning debut album, was an artist figuring out his own place in the world, engulfed in the shadows of grief and loss, LAHAI is an exercise in the radical acceptance and joy in the human condition, and the beauty in the journey itself. Welcome to Sampha’s next musical chapter: LAHAI.

Fresh from supporting Blur at Wembley Stadium this summer, Sleaford Mods are getting set for some of their biggest ever UK and Europe dates this autumn with the release of new six track EP, More UK GRIM, on 20 October. Recorded at the same time as their acclaimed 2023 album, UK GRIM, the freshly released songs not only continue Andrew Fearn and Jason Williamson's current dancefloor dominance, but with a mix of insight and wit, outrage and compassion, they critique and celebrate our turbulent times.à Lead single Big Pharma, shares a 'take no prisoners' lyrical approach with the band's recent album as it casts a doubtful eye down the 'truther' wormhole, although entwined around a slinky bass riff the track confirms the two-piece at their most dexterous musically. Big Pharma, which sets the tone for the More UK GRIM EP, is accompanied by a sharply satirical animated video directed by Sean Sears, who has applied his distinctive, stylised 2D vision to examining the consequences of a health 'philosophy' that prizes drinking urine over carefully researched medical treatments.à "Big Pharma was written in the opening chapters of autumn 2022 when Covid kicked in again. It carries a lot of the normal Sleaford Mods absurdism but also looks at the ongoing fascination with trying to find truths in information wholly pushed by very questionable people," explains Jason Williamson. Alongside the lead single, the More UK GRIM EP also features Under The Rules, Old Nottz, PO Crazeh and My 18hr Girdle, all previously unavailable.

[a] a1 Mongoloid (Warner Version) [2023 Remaster]
[b] a2 Jocko Homo (Warner Version) [2023 Remaster]
[c] a3 (I Can't Get No) Satisfaction [2023 Remaster]
[d] a4 Come Back Jonee (Single Edit) [2023 Remaster]
















[u] d2 Here to Go (Go Mix Version) [2023 Remaster]

[w] d4 Disco Dancer (7-Inch Version) [2023 Remaster]
[x] d5 Post Post-Modern Man (Macro Post-Modern Mix) [2023 Remaster]

Jill Barber's 2013 masterpiece "Chansons" is an album of interpretations of classic French songs from both France and Québec. Jill meticulously curated the repertoire herself, selecting material both from her own collection and from recommendations from friends within the Francophone community. “I spent time with the songs. I strolled the streets with Aznavour, I sat in a sidewalk cafe with Piaf,
poured a stiff drink with Gainsbourg, and I became absolutely enamoured and inspired by French music in the process.” Jill Barber is a 3-time JUNO Award nominee, a Polaris Music Prize nominee,
and winner of the Sirius/XM Jazz Album of the Year. She has headlined the Montreal Jazz Festival, Toronto's Massey Hall, and the Blue Note in Tokyo, and played clubs and festivals around the world.


Songs from Jill's catalogue have been streamed more than 160,000,000 times on digital services. Outside Music is proud to reissue "Chanson"s for its 10th Anniversary on limited edition Blush
coloured vinyl.

When the two brothers Alex and Mikael Lachan grew up in the small town of
Finspang, music was the highway and the world was the destination.
Playing together in the basement every day since they were kids, they formed a
bond that would translate into an explosive live show years later. The rejuvenated
band hammers out a sound that is energetic enough to sustain a live show
revolution, talented enough to keep your attention and welcoming enough to let
your voice sing the anthemic choruses like there was no tomorrow.
Over the span of their career they have released three full length albums (soon to
be four), two EPs and multiple digital singles. They have toured Europe many
times and played with bands such as Millencolin, Street Dogs, Asta Kask and
received praise from bands such as Dropkick Murphys for their heart-and-soulpacked melodic punk rock.
Now in 2023 they are back with a brand new full length album called Wanderlust
& Hardships. Recorded with the acclaimed producer Niels Nielsen, known for his
work with In Flames, Dead Soul, Ghost, and MCC, the album showcases the
band's signature sound that blends hard- hitting instrumentals with anthemic
lyrics. Fans can expect a celebratory and energetic tone that is sure to get them
involved.

The Chills reissue their celebrated early singles compilation, this 24-track expanded version of Kaleidoscope World gathers together tracks from the ‘Dunedin Double’ compilation, live recordings, Doledrums’ single and the band’s seminal ‘Pink Frost’. The collection also contains ‘The Lost EP’, with early takes on their groundbreaking ‘Submarine Bells’ album, alongside the aching ‘I Love My Leather Jacket’, perfectly illustrating the rollercoaster ride of Martin Phillipps and The Chills as portrayed in the award film The Triumph And The Tragedy Of Martin Phillipps. “Singer/guitarist Martin Phillipps’ group was at the forefront of the extraordinary little guitar-pop scene in New Zealand in the early ’80s.. Kaleidoscope World is the major document of their early era.” Pitchfork. Part of the 80’s extraordinarily vibrant and innovative independent music scene in New Zealand, The Chills became flag bearers, taking the Dunedin sound, as championed by the Flying Nun label, to the world. Long recognised as one of New Zealand's most influential bands, Kaleidoscope World is a definitive artifact from Martin Phillipps’ groundbreaking project.

Sampha announces the full details of his highly-anticipated, sophomore album LAHAI, out October 20th on Young. Taken from his paternal grandfather’s name, which is also Sampha’s middle name, LAHAI revels in the awe and magic of our existence, synthesizing the exquisite chaos that one experiences confronting the cycle of life and the beyondness. Spanning 14-tracks, with contributions from some of Sampha’s closest friends, peers and collaborators including: Yaeji, Léa Sen, Sheila Maurice Grey (Kokoroko), Ibeyi, Morgan Simpson (Black Midi), Yussef Dayes, Laura Groves and Kwake Bass, LAHAI, in contrast to Process, is a communal affair seeing Sampha explore the many ways in which we as humans connect to each other, and to something bigger than ourselves. On the album’s latest single “Only,” premiering today via a new music video directed by Dexter Navy in collaboration with Sampha, which follows the recent “Spirit 2.0,” we meet a newly energized Sampha, as he spits melodically over a fragmented hip-hop hued beat with co-production from El Guincho.

Not unlike its maker, LAHAI defies clear categorization. Spanning jazz, soul, rap, dance, jungle and west African music, LAHAI sees Sampha elevating his production and vocal ambition to great new heights. A notable singer, songwriter and producer, it’s no wonder that artists like Kendrick Lamar, Stormzy, Travis Scott and previously, Drake, Solange, Frank Ocean, Beyoncé, Lil Wayne and Alicia Keys have all tapped the artist for his inimitable voice plus songwriting and production contributions to their music. His work expands across multiple disciplines, with previous creative partnerships including the fashion designer Grace Wales Bonner, the Shy Light zine with Durimel (who also shot the LAHAI artwork) his Process film with director Kahlil Joseph, and most recently creative director Jonny Lu, with whom Sampha worked to create the LAHAI album artwork and logo.

If Process, Sampha’s 2017 Mercury-Prize-winning debut album, was an artist figuring out his own place in the world, engulfed in the shadows of grief and loss, LAHAI is an exercise in the radical acceptance and joy in the human condition, and the beauty in the journey itself. Welcome to Sampha’s next musical chapter: LAHAI.

Channeling the speed of youth and the heaviness of a fleshy, lived life in equal proportion, Upchuck’s second LP, Bite the Hand That Feeds, is a Trojan Horse par excellence, craftily smuggling in waves of sentimental emotion and clever pop songwriting under a veil of pulsing rhythms and scorching riffs. What binds Upchuck together is a purity of intention, an organic loyalty to a thick knot of uncalculated friendships, struggles, and desires. These are songs about the joy of continuing to live, songs that find each other in the rush of a crushing reality, propelling the listener onward towards a collective release, however brief it may last. Themes of surviving through the night, youth-blinded love, cheap champagne soaked back-alley parties, and chaotic street protests are subsumed under a single unifying thread: the needs we have for one another, our shared hunger for connection. In a world saturated with arbitrary rules and paper-thin moralism, Upchuck offer free¬dom through sensation, a type of unserious transcendence found through the swirl of bodies melting into one another in the passion of dance. With Bite the Hand That Feeds, Upchuck isn’t trying to tell anyone how to live. Rather, they are simply trying to find a way to make life more worth living for both themselves and their friends—if the music compels you to move, you might as well consider yourself their friend too. Shortly after the release of their debut album Sense Yourself, Upchuck absconded to Southern California to record Bite the Hand That Feeds, enlisting the production talents of Ty Segall and the airy reprieve of his secluded Topanga Canyon home studio. Upchuck credits Segall, who recorded the entire record live to tape over the span of five days, with helping to elevate the arrangements of their second record to bold new heights—fans of Segall’s extensive catalog will undoubtedly recognize the shadow of his creative touch in Bite the Hand That Feeds’ commanding, layered drum polyrhythms, tasteful use of oddball effects, and fuzzed out, every-guitar-pushed-into-the-red ethos. All the same, final credit for Upchuck’s evolution from Sense Yourself to Bite the Hand That Feeds must be paid to the band itself. Following the release of their debut LP, Upchuck embarked upon a break-neck string of live shows, touring alongside the likes of Segall’s Fuzz, Amyl and the Sniffers, Negative Approach, OFF!, and Sub¬humans. The razor tight focus of Bite the Hand That Feeds was forged in the fire of these live shows, speaking directly to the power of their in-person presence—these are songs meant to be heard pressed up against a barricade, blasted through dimed guitar amps placed so close to your ears that you can practically reach out and touch them. In its totality, Bite the Hand That Feeds offers a sonic portrait of what it feels like to be young and caught up in the thrill of it all, coursing between ripping dance grooves and thundering dirges, anti-self-serious crowd anthems and charming pop hooks.