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First time vinyl reissue, expanded and deluxe double gatefold 140g double vinyl, remastered audio with restored artwork and fresh liners written by Paul Hillery (Folk Funk & Trippy Troubadours)
Alan James Eastwood's glorious Seeds is a certified folk-funk lost-classic.

But who was Alan James Eastwood? He had never hit the big time and commercial success eluded him. By the mid-1970s, his musical career was pretty much over and he was almost unknown except among deep heads, amongst whom he would gain cult status.

Original copies of the 1971 vinyl release of Seeds exchange hands for high sums, if you can find one. This expanded 2LP contains an extra record, collecting 9 rare non-album singles and is presented in a gatefold sleeve complete with freshly commissioned liner notes courtesy of Paul Hillery (Folk Funk & Trippy Troubadours).

With the long overdue deluxe reissue of this prized artefact, we hope to finally shine a light on the unheralded genius of Alan James Eastwood. RIYL Nick Drake, Rodriguez, Richie Havens.

Alan James ‘Bugsy’ Eastwood was a renowned musician and singer who came to prominence in the late 1960s with The Exception, an unsung but excellent band from Birmingham. The Exception released many singles, the first featuring friend Robert Plant on tambourine, before an album, The Exceptional Exception. However, by this time, Bugsy was feeling constrained and restless; he left the band within weeks of the release.

Having vanished from the scene, he was honing a deeper, introspective edge to his songwriting. His demos found their way to the sound engineer and producer Mike Cooper at Pan Music Studios in Denmark Street. Loving what he heard, Eastwood soon entered a recording session with Cooper. The session was just Alan, his guitar and harmonica and - by all accounts - it was remarkable. With the songs, the voice and such an exceptional talent, it was hard to go wrong. Says Mike: "We had John Hawkins do the big string arrangements and Richard Hewson arranged the string quartet. We overdubbed the orchestrations on Alan's original session recordings, adding Chris Karan on tabla and various percussion. We considered re-recording the vocals but found that the magic on that original session was so exceptional overdubbing would not be as good as the atmospheric 'live' performance."

Mike and Alan viewed each track as a different entity, giving the album a diverse sonic palette. Assessing each song individually, they decided which would be suitable for each arranger. Top-flight session musicians were added to the roster to complete the sound, with Byron Lye Fook (father of musician Omar) on drums, bassist Mike Ward, Brian Pickles on marimba and jazz drummer Chris Karan on tabla and percussion. Recorded in a matter of days in Pan's small 8-track studio, they carefully added overdubs, rhythm sections and four string sessions arranged by Hawkins, with Hewson's arrangements recorded at Trident Studios.

Seeds was Alan James Eastwood's debut solo album – indeed, his only solo album - and was originally issued on President in 1971. It melded Eastwood’s impressive rock sensibilities with a folk thread to superb effect. His arresting voice - its deep, rough-hewn soulfulness - coupled with gorgeous string-drenched backing, make this a phenomenal listen. It really is a great 70s singer-songwriter record - with touches of acid-folk and folk-funk throughout.

It opens with "She's Getting Married In August", a mellow tune with Richard Hewson's strings arranged around Alan's straightforward guitar structure. Up next, the joyous, sun-dappled guitar and strings workout "Evenin' Rain" glides by before the fragile, accordion-enhanced "Les Papillons" breezes out of the speakers. The bluesy "Zeena" follows, featuring vocals and acoustic guitar and showcasing Eastwood's effortless harmonica. Starting out as a ballad, "Virgin Morn" builds with soaring strings and gospel-tinged backing vocals from Marilyn Powell and jazz singer Josephine Stahl. The A-side closes with the title track, "Seeds". With a chugging mid-tempo beat, soulful vocals and a beautiful Bacharach-esque string arrangement, it truly is stop-you-in-your-tracks spectacular.

Side B opens with "Crystal Blue", gilded by Lye Fook's marimba, lush gospel-esque backing vocals and handclaps. Eastwood's acoustic guitar begins "Lady Carole", which starts as a bluesy ballad and builds with more string arrangement, lifting the track to another height. A towering highlight of epic proportions, "Lotus Child" is a true masterpiece of arrangement. It opens with simple yet stunning do-do-dah vocal harmonies blended with John Hawkins's strings, bass lines and rhythmic beats, forming a vibe very much in conversation with the sounds coming from LA's Laurel Canyon. Next up, the heartwarming "Last Prayer", dedicated to Alan's first and last love, contains a melancholic vocal with a wistful string-drenched arrangement that would sit comfortably in a Federico Fellini score. Bringing the album to a close, "Hymn For Today" is a melodic raga with tabla, strings and a soft-psych feel. Eastwood's prophetic whisper - "I am real. At last, I am real" - profoundly hits home.

Kicking off the extra disc is the sparsely funky and country-tinged "Boston", released as the flip to the astonishing "Seeds". Next up are the two tracks that comprised Alan’s debut solo 7" single from 1968. The laconic, Bobby Charles-esque "Blackbird Charlie" evidences a real depth and charm in Eastwood's songwriting whilst the starkly brilliant flip, "My Sun", was a horizontal, atmospheric folk-tinged soundtracky precursor to his later work on Seeds.

In 1972, two further standalone singles followed. The first was the evergreen flute-driven folk-funk bomb, "Closer To The Truth", backed by the funky blues of "Strange News". The second, a deeply moving Havens-inspired "Moonchild" - rightly fawned over to this day - was flipped with "Red Shoe Truckin'", a groove-infused track. Eastwood also paired up with Marilyn Powell for a single produced by Powell's partner, Mike Cooper. Under the name Eastwood & Powell, they released their staggering rendition of "Beautiful", a rock-blues-pop song arranged by Ivor Raymonde and written by Carole King. Over on the flip, a funky Eastwood original "Opal Blue Sunday" lurked. This is not to be overlooked.

Over the years, Alan remained active on the music scene, but problems with alcohol and health complications from diabetes severely impacted his career. He spent his latter years living in London until his untimely death from heart failure on 25 October 2007, just one day before his 62nd birthday and without his music having received the real acclaim it so dearly deserved.

This deluxe reissue, spellbinding from beginning to end, should hopefully go some way to rectifying this tragic fact. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The original artwork has been lovingly brought back to life at Be With HQ, with the addition of passionately written liner notes specially for this landmark reissue by none other than Paul Hillery.

The Fuse album was remastered at Abbey Road in 2023.  The album includes an extra unheard track from the period called New Liberty. Artwork is by Chris Bigg of V23.
The second in a series of archive releases by Cranes, Fuse was recorded in Portsmouth, their home town by siblings Alison and Jim Shaw. It originally appeared as a cassette album in 1986 on the Bite Back! label. With an initial run of only 200 copies, over the years this album, with its distinctive purple cover has been highly sought after amongst fans, often exchanging hands for more than £100. 

FUSE showcases a sparser, darker and more industrial, post punk sound. From the hypnotic allure and rhythmic intensity of the title track to the ferocious and challenging beats of Wrench, the songs are just as mesmerising as Cranes' later, critically acclaimed releases.  

Recorded in a garage on a 4 track porta-studio, the band spent many months experimenting and became obsessed with the recording process. Jim Shaw used a very early sampling pedal to create the drum sounds, which were all individually triggered. The only and first ‘industry’ person to hear anything by Cranes at this time was Martin Hannett (legendary producer of Joy Division and New Order).  He was looking for unsigned bands to appear on a new music TV show in Manchester and so Ian Binnington from Biteback! sent him a compilation tape of many Portsmouth bands. Hannett picked out ‘Fuse - original version” by Cranes and told Ian that the track was ‘fucking great’.   

Following their sold out gigs in October 2023 in London and Portsmouth, Cranes will be playing the following shows in May, supported by deary*: Tue 30th April BRUSSELS, Botanique, L’orangerie (Sold-Out) Thu 9th May LEEDS, Brudenell Social Club* Sat 11th May LONDON, Islington Assembly Hall* Mon 27th May BARCELONA, Primavera @Apolo.

Born out of the early 1980's Austin noise punk scene, Scratch Acid deliberately eschewed the loud, fast rules of hardcore as everything they didn't want to be and embraced a weirder, artier sound. Prior to the release of their 1984 debut S/T EP, someone gave Touch and Go Records owner Corey Rusk a cassette of the recording, and he was instantly a huge fan. Rusk was immediately interested in releasing the EP and contacted the band to express his admiration. At the time, Scratch Acid had already committed to working with Rabid Cat Records. The group quickly developed a riveting performance aesthetic, and, as the debut S/T EP made its way around the country via fanzines, college radio, and word-of-mouth, the band mounted short tours to the Midwest and the East Coast. While he was not able to work with Scratch Acid directly through Touch and Go, Rusk had begun booking shows with Scratch Acid in Detroit, so he could see them live and meet them. A friendship formed, and Touch and Go Records would eventually release the band's second EP, Berserker, in 1987.

Tech-Nology was launched in 2003 specifically to make records with the artist Bjorn Svin. Bjorn was the first Danish artist who made underground crossover into commercial hit territory via "Mer Strom" - but still keeping respect in the "real" music world for his enthusiasm, non-compromising style, persona, and sweaty live performance skills - his musical understanding and need to explore new directions took the crowd on a personal musical journey from jazz and classical musicians to early electronic pioneers - but always in a tone of his own. Bjorn always felt a need to escape norms, to grow and not to repeat, but investigate and create. The first record on Tech-Nology was born under the alias - El Far: Couples of lonely dancers. "Bjorn is maybe the most talented electronic producer ever in Denmark" and he was celebrated as a wonder kid by the media back in the 90's. An insider with new knowledge of Bjorn told us: "Yeah I think its good music.. It's not for everyone I must add, but it's definitely quality music for those who dig this sound.. sometimes a bit too deep.. which kind of works against it, cause you really need to listen to it.. you cannot just skip through it, cause then you don't really grasp the soul of it.. so this is what makes it more difficult to sell - but if a guy like this was a bigger name he would sell much better.."

We love Bjorn and we agree - We have tried to sell Bjorn and his music for over 2 decades now - But you can't capture Bjorn, you can't own him - he is only making music for himself - and you can get on the ride if you want to, but don't expect all the rides to be fun - sometimes it hurts! Bjorn is difficult to sell, but we don't think Bjorn really would like to sell much better if he had the option to do a more commercial approach to his music - because Bjorn is about not selling out, he's a purist at heart, making music documents for the few. Bjorn is bigger than superficial success and streaming numbers. He made jingles for Nokia, toured and played Roskilde's main stage, the biggest Festival in Denmark, but he still doesn't care... and that is important if you want to make interesting music that last for the future. When Bjorn met Mester Jakobsen, label boss of Tech-Nology, he has been releasing on numerous underground labels, made the jump to a major label, and everything more or less turned out as a big disappointment, so Bjorn presented a completely experimental album to the Tech-Nology label under the moniker Prinz Ezo - The Body Offset. We loved it then - we still love it now - and a truly collectors item and a secret DJ tool.

Today, Bjorn is still breaking all habits and rules, still doing the same thing - just in new ways, but he has gained insight on another level, adding even more nuances and textures to his post-genre compositions.

Welcome to the second album by Prinz Ezo on Tech-Nology: KURIER Why Kurier? Because Bjorn left to explore the Berlin Underground, shortly after the first two releases on Tech-Nology - he left his roots to search for a bigger meaning, a bigger understanding, to compose real mature sounds and understanding his skills, at the point where you understand why you have to cross borders, still incognito, doing smuggler-sounds, always in transit - between cities, between cultures, between worlds, time and space. Not Restless nor rootless, just forever on the move, always discovering new landscapes! But now Bjorn is settling down - accordingly with the music - to find - not inner peace, but to be completely in balance with the music inside of him. Prinz Ezo is raw, narrative, minimalistic electronic storytelling that refuses to freeze. Tension builds and releases - feel the energy and the drama for the last 2 decades if you dare to take the journey?

Almost twenty years after the first Prinz Ezo album, it has now been possible to make the music for those who never arrived.

Tech-Nology was launched in 2003 specifically to make records with the artist Bjorn Svin. Bjorn was the first Danish artist who made underground crossover into commercial hit territory via "Mer Strom" - but still keeping respect in the "real" music world for his enthusiasm, non-compromising style, persona, and sweaty live performance skills - his musical understanding and need to explore new directions took the crowd on a personal musical journey from jazz and classical musicians to early electronic pioneers - but always in a tone of his own. Bjorn always felt a need to escape norms, to grow and not to repeat, but investigate and create. The first record on Tech-Nology was born under the alias - El Far: Couples of lonely dancers. "Bjorn is maybe the most talented electronic producer ever in Denmark" and he was celebrated as a wonder kid by the media back in the 90's. An insider with new knowledge of Bjorn told us: "Yeah I think its good music.. It's not for everyone I must add, but it's definitely quality music for those who dig this sound.. sometimes a bit too deep.. which kind of works against it, cause you really need to listen to it.. you cannot just skip through it, cause then you don't really grasp the soul of it.. so this is what makes it more difficult to sell - but if a guy like this was a bigger name he would sell much better.."

We love Bjorn and we agree - We have tried to sell Bjorn and his music for over 2 decades now - But you can't capture Bjorn, you can't own him - he is only making music for himself - and you can get on the ride if you want to, but don't expect all the rides to be fun - sometimes it hurts! Bjorn is difficult to sell, but we don't think Bjorn really would like to sell much better if he had the option to do a more commercial approach to his music - because Bjorn is about not selling out, he's a purist at heart, making music documents for the few. Bjorn is bigger than superficial success and streaming numbers. He made jingles for Nokia, toured and played Roskilde's main stage, the biggest Festival in Denmark, but he still doesn't care... and that is important if you want to make interesting music that last for the future. When Bjorn met Mester Jakobsen, label boss of Tech-Nology, he has been releasing on numerous underground labels, made the jump to a major label, and everything more or less turned out as a big disappointment, so Bjorn presented a completely experimental album to the Tech-Nology label under the moniker Prinz Ezo - The Body Offset. We loved it then - we still love it now - and a truly collectors item and a secret DJ tool.

Today, Bjorn is still breaking all habits and rules, still doing the same thing - just in new ways, but he has gained insight on another level, adding even more nuances and textures to his post-genre compositions.

Welcome to the second album by Prinz Ezo on Tech-Nology: KURIER Why Kurier? Because Bjorn left to explore the Berlin Underground, shortly after the first two releases on Tech-Nology - he left his roots to search for a bigger meaning, a bigger understanding, to compose real mature sounds and understanding his skills, at the point where you understand why you have to cross borders, still incognito, doing smuggler-sounds, always in transit - between cities, between cultures, between worlds, time and space. Not Restless nor rootless, just forever on the move, always discovering new landscapes! But now Bjorn is settling down - accordingly with the music - to find - not inner peace, but to be completely in balance with the music inside of him. Prinz Ezo is raw, narrative, minimalistic electronic storytelling that refuses to freeze. Tension builds and releases - feel the energy and the drama for the last 2 decades if you dare to take the journey?

Almost twenty years after the first Prinz Ezo album, it has now been possible to make the music for those who never arrived.

2025 Repress


Ash Ra Tempel is the eponymous debut studio album by the Krautrock band Ash Ra Tempel. It features guitarist Manuel Göttsching with drummer Klaus Schulze and bassist Hartmut Enke.
Engineered by Conny Plank it was recorded in March 1971 and released in June 1971 on Ohr Records.

This 50Th Anniversary Album will be Released in Memoriam of all the Musical Contributors to this Release and on Manuel Göttsching´s MG.ART label. It´s the fourth and headlining edition in this series and was finalised, carefully overseen by Manuel Göttsching himself in the late Autumn of 2022.

Much has been written about the record and band.

Having finished a first musical chapter with their Steeple Chase Bluesband and still at very young age of only 17 and 18 years old Manuel Göttsching and Hartmut Enke met Klaus Schulze. Together they started to write and and compose what, to many, became one the holy grails of Psychedelic Rock and early Electronic Music -
the German variant which was later also named "Krautrock":

Ash Ra Tempel´s self-titled first album "Ash Ra Tempel".

"The trio of Klaus Schulze, Manuel Göttsching and Hartmut Enke decided to abandon conventional composition and song writing, in favour of free-form improvising and developing a new musical language. As such, they became notorious for jams that could exceed 30 minutes." Says Discogs. "Some of these recordings can be found on Manuel Göttsching´s "The Private Tapes" releases", which will be re-released on MG.ART as well, following this edition.

"Krautrocksampler" author Julian Cope mentioned it to be "… one of the greatest rock 'n' roll LPs ever made." (Julian Cope Presents Head Heritage | Unsung | Reviews | Ash Ra Tempel - Ash Ra Tempel". 15 March 2000.)

AllMusic called the album "both astonishingly prescient and just flat out good, a logical extension of the space-jam-freakout ethos into rarified realms."

Here we would like the Band to be heard, for what can easily be said as the first time in 50+ years, with the exception of some early Journalists for whom the young Manuel Göttsching wrote a statement of intent (the original text can be found inside this edition) as following:

"Our musical concept is based on a combination of blues rock and delicate collages of electronic sound. These two elements should remain inseparable. And in their complex unity, the different musical philosophies of each musician find a common sweet spot. Our music is a permanently impulsive experience left to develop as it will, starting from a common fixed point of departure. This is where the difficulty of the music begins: No standardized formulation of our music can and should be possible. Only the constant reaction within the band can determine the musical result. And this requires constant listening with full concentration on the part of the creators. The idea of a particular musician will be - if flexible enough - absorbed by the others, transposed to their own instrument, and reflected back into the music as an individual contribution. This reciprocity within the band is then transferred over to the audience. And this process means that their reaction is not only a contribution to the end result; it actually makes them jointly responsible for the creation of the final musical product.
…
On our album, the track "Amboss" represents the first layer. Conventional instruments communicate familiar music which is in part expanded through electronic means. In the second track of the album - "Traummaschine" - the actual basic sound approach is dissolved into an electronic Nirvana which no longer allows the concrete identification of actual instruments. Innocent, virgin listening, free from any and every association, can finally begin - and the music can be absorbed and processed free from the limitations of categorization. That is the purpose of our music: To convey freedom without any predetermined criteria or traditions.

Thank you for your attention."
(Taken from the original A-R-T Bio 1970)


Hartmut Enke, Manuel Göttsching and Klaus Schulze aka. Ash Ra Tempel travelled to Hamburg in March 1971 to record their debut, with assistance of another Icon, legendary engineer Conny Plank.
The rest is history.

2025 Repress

Ash Ra Tempel is the eponymous debut studio album by the Krautrock band Ash Ra Tempel. It features guitarist Manuel Göttsching with drummer Klaus Schulze and bassist Hartmut Enke.
Engineered by Conny Plank it was recorded in March 1971 and released in June 1971 on Ohr Records.

This 50Th Anniversary Album will be Released in Memoriam of all the Musical Contributors to this Release and on Manuel Göttsching´s MG.ART label. It´s the fourth and headlining edition in this series and was finalised, carefully overseen by Manuel Göttsching himself in the late Autumn of 2022.

Much has been written about the record and band.

Having finished a first musical chapter with their Steeple Chase Bluesband and still at very young age of only 17 and 18 years old Manuel Göttsching and Hartmut Enke met Klaus Schulze. Together they started to write and and compose what, to many, became one the holy grails of Psychedelic Rock and early Electronic Music -
the German variant which was later also named "Krautrock":

Ash Ra Tempel´s self-titled first album "Ash Ra Tempel".

"The trio of Klaus Schulze, Manuel Göttsching and Hartmut Enke decided to abandon conventional composition and song writing, in favour of free-form improvising and developing a new musical language. As such, they became notorious for jams that could exceed 30 minutes." Says Discogs. "Some of these recordings can be found on Manuel Göttsching´s "The Private Tapes" releases", which will be re-released on MG.ART as well, following this edition.

"Krautrocksampler" author Julian Cope mentioned it to be "… one of the greatest rock 'n' roll LPs ever made." (Julian Cope Presents Head Heritage | Unsung | Reviews | Ash Ra Tempel - Ash Ra Tempel". 15 March 2000.)

AllMusic called the album "both astonishingly prescient and just flat out good, a logical extension of the space-jam-freakout ethos into rarified realms."

Here we would like the Band to be heard, for what can easily be said as the first time in 50+ years, with the exception of some early Journalists for whom the young Manuel Göttsching wrote a statement of intent (the original text can be found inside this edition) as following:

"Our musical concept is based on a combination of blues rock and delicate collages of electronic sound. These two elements should remain inseparable. And in their complex unity, the different musical philosophies of each musician find a common sweet spot. Our music is a permanently impulsive experience left to develop as it will, starting from a common fixed point of departure. This is where the difficulty of the music begins: No standardized formulation of our music can and should be possible. Only the constant reaction within the band can determine the musical result. And this requires constant listening with full concentration on the part of the creators. The idea of a particular musician will be - if flexible enough - absorbed by the others, transposed to their own instrument, and reflected back into the music as an individual contribution. This reciprocity within the band is then transferred over to the audience. And this process means that their reaction is not only a contribution to the end result; it actually makes them jointly responsible for the creation of the final musical product.
…
On our album, the track "Amboss" represents the first layer. Conventional instruments communicate familiar music which is in part expanded through electronic means. In the second track of the album - "Traummaschine" - the actual basic sound approach is dissolved into an electronic Nirvana which no longer allows the concrete identification of actual instruments. Innocent, virgin listening, free from any and every association, can finally begin - and the music can be absorbed and processed free from the limitations of categorization. That is the purpose of our music: To convey freedom without any predetermined criteria or traditions.

Thank you for your attention."
(Taken from the original A-R-T Bio 1970)


Hartmut Enke, Manuel Göttsching and Klaus Schulze aka. Ash Ra Tempel travelled to Hamburg in March 1971 to record their debut, with assistance of another Icon, legendary engineer Conny Plank.
The rest is history.

Originally conceived as a compilation of outtakes and live recordings from The Shadow Ring's 1995 stateside tour, Wax-Work Echoes takes its name from the first line of "Put the Music in Its Coffin," the title track of the group's breakthrough release. Lambkin abandons the bitsand- bobs approach, advancing the Shadow Ring concept with entirely original material that builds on the unit's self-mythologizing lyrics, celebrates the clicking of horse hooves, ponders on the sociability of rats and mice, and warns of the dangers of poultry. The first Shadow Ring album to officially include Tim Goss in the main lineup, Wax- Work Echoes reveals the group in its final and lasting form, awash in the outer bounds of atmospheric exploration, with Lambkin's familiar wry and morbid lyricism and the stripped-down angularity of amateurishly detuned guitars fully intact. While Klaus Canterbury and Tony Clark seem all but forgotten, and the shrugged off S. Fritz is listed on the liner notes as performing only "when required," Lambkin did solicit contributions from outside the inner circle. A bit of "Mambo Twist," lifted from a tape of unreleased Vitamin B12 material sent to Lambkin by Alasdair Willis, found its way into "V.E.R.M.I.N.," while an extended epistle contribution from Richard Youngs (and, technically, Brian Lavelle) would be employed in the second half of "Catching Sight/Of Passing Things." Released on CD in 1996 for Bruce Russell's newly minted Corpus Hermeticum, Wax-Work Echoes was recorded concurrently with intense rehearsal periods, in anticipation of the forthcoming "Rose Watson Tour," and was supported by a celebratory fanzine media blitz. The album seemingly absorbs the frenetic excess of the band's transatlantic travels; Wax-Work Echoes channels the trio's wilder instincts into an unresolved catharsis, not yet free of frustration or restlessness. Out of print for almost three decades and available here for the first time ever on long-playing disc, Wax-Work Echoes is a classic from the outer eddies of The Shadow Ring's sound, a must-have for any aficionado's collection: "A window slides, glass slips from frame / And canvas carcass breathes again." Throughout their legendary, decade-long run, the Shadow Ring were an enigmatic force on the international musical sub-underground. Before their disbandment in 2002, this shambolic rock outfit, formed by a group of rowdy teenagers in southeast England, left behind a mighty run of eight LPs, a handful of 7"s, and a spate of raucous live shows and cryptic zine appearances on both sides of the Atlantic, all which have bolstered their enduring word-of-mouth mystique. Beginning in 2023 with the first-ever vinyl pressing of the self-released pre-Shadow Ring tape The Cat & Bells Club (1992), Blank Forms Editions has been conducting a systematic retrospective of the storied group. Wax-Work Echoes and Hold Onto I.D. are the latest releases in a multiyear reissue effort that includes several LPs, a comprehensive CD box set, and a nearly five-hundred-page book.

Moss green vinyl. After two pandemically conditioned 'reaction' albums - Yay! (2023) and Neigh!! (2024) - a few non-album singles and a compilation album, a downsized and sleek Motorpsycho is back where we all know and love them, with an epic, sprawling double album, filled to the brim with inventive, organic and ecstatic rock-based music. Rejoyce Psychonaut! This eponymously titled, 11 song work, has exactly as much variety & diversity, accord and discord, as one expects from a band that has released a few albums before, and that these days must be regarded as an institution in European rock. From concise 3min-something pop-rockers, to 20mins-plus progressive epics, via acoustic intimacies and psychedelic wig-outs, this is concentrated Motorpsychosis: commenced Rebis, countdown initiated. Ever closer. Ever sharper_

Leeds-based noise-rock band Thank drops their second EP Please. Coming out as a joint venture between Buzzhowl Records and Belgium's EXAG, Please is the follow-upto the group's debut EP, 2017's Sexghost Hellscape. While the tension in Please could be too much for some bands to hold, Thank sustainit expertly across the four tracks here. This is thanks in part to superbly-balanced production by Rob Slater and Jamie Lockhart (Greenmount Studios) as well as a meaty mastering job from Declared Sound's Dominic Clare. Furthermore, vocalist Freddy Vinehill-Cliffe (Beige Palace) acts as a lightning rod for both elements of Thank's sound. Vinehill-Cliffe's lyrics tackle by turns Catholic guilt, deaths in the family, his experiences in therapy, sex, loyalty and betrayal. Whatever the subject matter, every syllable of Please is delivered in a selfflagellatingyelp that is equal-parts Xiu Xiuand post-Nite Flights Scott Walker. Such a tragi-comic performance is the perfect focalpoint for Thank's harsh, powerful Please. "A brutally deranged band that mixes krautrock and experimental electronic music into their caterwauling punk, reforming noise rock with robotic grooves and manipulatedsynths." - Post Trash "Thank trade in groovily abrasive riffs, burbling synths, disco-punk drum patterns and high level ranter vocals." - The Quietus

Death Is Not The End release a second part collecting pre-partition film music, compiled by Gary Sullivan of Bodega Pop.

As the 1940s began, South Asian cinema entered a transformative phase. Playback singing, still a new idea in the previous decade, quickly became standard practice. Actors no longer had to sing, and singers no longer had to act, opening the door to a wave of dedicated vocal talent that redefined the sound of the industry.

Voices like Noor Jehan, Shamshad Begum, and Suraiya rose to prominence, becoming household names across the subcontinent. Behind them, composers like Naushad, Anil Biswas, and Ghulam Haider were expanding the sonic palette of film music, blending ragas with Western orchestration, folk tunes with jazz-era instrumentation. Harmoniums, sarangis, violins, accordions, and clarinets filled out increasingly complex arrangements, while ghazals and qawwalis continued to influence mood and structure.

Although the post-Partition years are often considered to be Bollywood's "Golden Age," thanks to filmmakers like Raj Kapoor, Bimal Roy, and Guru Dutt, the music started its peak just before the divide. By 1947, Naushad and others were producing some of the most emotionally rich and musically intricate work in the industry's history, compositions that would prove challenging to surpass in the decades that followed.

Yet this high point came during a time of immense upheaval. The Second World War, the Bengal famine, and the crumbling of colonial rule all loomed large. Film songs often reflected the uncertainty, sometimes mournful, sometimes romantic, sometimes defiant. And when the Partition finally came, it fractured the world that had created this music. Artists became refugees, studios were split, and careers were thrown into flux. Noor Jehan, who would go on to become Pakistan's most iconic singer, recorded many of her most beloved songs in Bombay. Khursheed, another major star, faded from public life after migrating. K.L. Saigal, a towering figure of the 1930s and '40s, died in Lahore just months before the split.

This collection spans those final years before Partition, a time of creative flowering and looming catastrophe. Like Part 1, these songs were sourced from immigrant-run music shops in New York and New Jersey. They are fragments of a vanishing world, each one a snapshot of the art, longing, and resilience that defined this extraordinary era.

The quietest voices can be the most durable.

American Football’s original triumph, on their 1999 self-titled debut, was to reunite two shy siblings: emo and post-rock. It was a pioneering album where lyrical clarity was obscured and complicated by the stealth musical textures surrounding it.

Like Slint’s Spiderland, or Codeine’s The White Birch, even Talk Talk’s Laughing Stock, American Football asked far more questions than it cared to answer. But there wasn’t a band around anymore to explain it, anyway. The three young men who made the album – Mike Kinsella, Steve Holmes, and Steve Lamos – split up pretty much on its release.

Fifteen years later, American Football reunited (now as a four-piece, with the addition of Nate Kinsella). They played far larger shows than in their original incarnation and recorded their long-anticipated second album, 2016’s American Football (LP2). The release was widely praised, but the band members still felt like their best work was yet to come.

‘I feel like the second album was us figuring it out,’ says Nate. ‘For me, it wasn’t quite done. I knew there was still more.’

Enter American Football (LP3). ‘We put a lot of time and a lot of energy into it,’ says Mike. ‘We were all thoughtful about what we wanted to put out there. Last time, it was figuring out how to use all of our different arms. This time, we were like – Ok we have these arms, let’s use them.’ The band used the same producer, Jason Cupp, and recorded the album at the same studio (Arc Studios in Omaha, Nebraska) as its predecessor – yet they approached it in a markedly different way. There was a determination to let the songs breathe, to trust in ideas finding their own pace. The final result is a definite, and deliberate, stretching of the band.

As a result, LP3 is less obviously tethered to the band’s past than the second album. An immediate contrast between LP3 and its two predecessors is its cover. The two previous albums featured the exterior and interior of a residence in the band’s original hometown of Urbana, Illinois (now attracting fans for pilgrimages and photo opportunities), by the photographer Chris Strong. But American Football knew that LP3 was an outside record. Instead of the familiar house, this time the cover photo (again by Strong) features open, rolling fields on Urbana’s borders. It is a sign of the album’s magnitude in sound, and of the band’s boldness in breaking away from home comforts.

American Football also joked that LP3’s genre was ‘post-house’, because of this very conscious visual break. But, in a strange way, there are links in LP3 with an actual post-house genre: shoegaze. The more exploratory members of the original British shoegaze scene were inspired by the dreamtime and circularity of house music (ambient house in particular), cherishing its sonic possibilities. That spirit drips into LP3, most obviously on ‘I Can’t Feel You’, a collaboration with Rachel Goswell of Slowdive.

The album also features Hayley Williams from Paramore on the album’s catchiest moment, ‘Uncomfortably Numb’, and Elizabeth Powell, of the Québécoise act Land Of Talk. Mike wrote lyrics in French especially for her.

LP3 is contemplative, rich, expressive, yet with a queasy undercurrent. It is heavy with expectancy, revealing its ideas slowly, eliciting the hidden stories people carry around with them. ‘I feel like my lyric writing has changed a lot over the years,’ says Mike. ‘The goal is to be conversational, maybe to state something giant and heavy, but in a very plain way. But, definitely in this record, I keep things a little more vague.’ As on the first album, the lyrics on LP3 may seem confessional and concentrated, but the more you scrutinize them, the further their meaning slinks away. Or, as Mike tellingly sings on ‘I Can’t Feel You”: I’m fluent in subtlety.

‘Somewhere along the way we moved from being a reunion band to just being a band,’ says Steve Holmes. American Football is now a bona fide ongoing focus, and they are making some of the best music of their lives. American Football (LP3) stands with two other rare reunion successes – Slowdive and My Bloody Valentine’s mbv – as a fine example of how a band refinding one another can augment, rather than taint, their legacy.

‘I think that there are those albums, or the music that you heard when you were younger, and they imprint on you,’ says Nate. ‘And no matter where you go, or what you do they’re always there.’ He is talking of Steve Reich – an early and ongoing influence on American Football – but he might as well be reflecting what is said of his own band, and the ardent following they inspire. American Football stands as an enduring symbol of elusive emotional landscapes, where introspection can be as dramatic as confrontation

Heat Rock has previously been home to plenty of superb King Most flips but here he returns to KM after the head-turning inaugural release, this second outing is another super fun blend of classic beats and vocals. Sunny R&B and neo soul vocals, natty guitar riffs that bring the funk and a fat, rolling dub sound on the flip, making for two fine collisions of different worlds.

Musique de Niche Vol.1 barked for a Vol.2. The second opus of any relevant trilogy (did I just spoil a Vol.3?) undergoes always the hardest trial by fire: but the bois, Pierre Marty and Admo, once again delivered these flavors you didnt know your collection was missing.

Same city, different district and new inspirations: following the world premiere in Berlin of their Liveset, they hit the home studio, refining the last bits of this new EP and giving it a new twist while still echoing the first volume.

Tech-house yes, but is it really ?

Indecisiveness feels like we could've said maybe yes but no but...
Well: Alpyren did the quite impressive feat of pressing this feeling on a record - that's A1. The haunting voice sample is this sassy inner self trying to tell you whats up. At least, you're not alone: the quirky bleeps and the punchy bassline are there lending you a hand to make that surely bad decision.

By flipping the record or the usb, you get to the two tracks where they let their new inspirations hit the speakers.

B1 is out before GTA VI, but it could've been in the soundtrack if the game was actually happening between Los Santos and Marseille.G-funk with the Alpyren touch: for the floor, a tune that will make you sway. Broken beats, almost broken legs.

B2 is the freaky one of the bunch: starts with the gloomy sound signature of the duo, but we're back with more 80's inspirations.Darker synth pop with a twist: you end up following the kick with the head bobbing in sync, while all the FX sounds bring to the track this extra spice.

It's 5pm here at the Ordinateuf HQ and we've just finished listening to the latest masters of the new E.P by Alpyren 'Musique de Niche vol2'. Before we're back to more phone calls, we'd like to thank all the friends that bought the first volume: the support has been quite amazing so far.

Enjoy this new one - its got our paw of approval.

2024 Repress

Double Vinyl on 140g includes DLC, gatefold sleeve, printed inners. Following the reissue of ‘Hex’ in late 2017, Fire Records reissue Bark Psychosis’ second studio album ‘///Codename:Dustsucker’ (2004) “which finds the band in remarkable form” (Pitchfork). Arriving ten years after the band disbanded, the long-awaited and criminally overlooked follow up brings with it an evolution of their sound. Their experimentations are layered with blissed out electronics, shoegaze, post-rock and jazz are still at its fore as are Sutton’s crystalline vocals. Languid and brooding, the soundscapes are dark and sustained while their “trademark cocoon of limpid, rippling guitar figures and jazzy adornment is buffeted by sharp leftward turns” (Uncut). Recorded in Graham Sutton’s East London DustSuckerSound studio between 1999 and 2004, it features contributions from Talk Talk sticksman Lee Harris and ‘found drumming’ from ex-band member Mark Simnett. Bark Psychosis’

18 tracks pressed across three vinyls. A limited-run tee. Seven digital relics, unearthed for Bandcamp only.

As always, dance floor-focused with a clear nod to the ’90s — Progressive, deep & dubby, transcending, 303s. Immersive, but never drifting. Direct, but never dry. Forward thinking, expansive.

Direct, 303s, raw — this lane’s locked down by Roza Terenzi, Cybernet, Aju, Kalani, Ash Is and Xupid, each carving out their space with raw, floor-focused energy. On A2, Xupid slips in Raindanc94 — a long-lost gem some might recognise from D.Dan’s 2021 Boiler Room. Unreleased until now, it’s finally getting the drop it deserves.

Transcending? You know it. Trance mind-melters? Always. Plastic GRNchannels that classic 90s Xpander sound, Alfred Czital drops a dance floor annihilator, while Dutch duo Match Box keeps it as bright and club-ready as ever. It’s a full spectrum of sound, each track weaving into the next with peak energy and timeless hooks.

Progression, progression, progression — it’s shaped our sound from the start. Uplifting, expanding, always pushing into the outer zones. DJ Life, Aiden Francis, Jeku, Tifra, Cosmic G and Laars are back on the label and doing the business. Whether it’s a floor-heating bopper by DJ Life or emotive, widescreen territory by Aiden Francis, this release has it all.

And of course, no 6-year celebration of ND would be complete without a deep dive. Dubbed-out rollers and hypnotic house cuts come courtesy of Baumb, Glen S, and Harrison BDP. Fresh off his second EP last month, Baumb returns with those trademark low-end orbs, guiding us through the fog with finesse. Glen S strips it back and locks into a tech-deep groove. BDP lands on F1. Sublime, heads-down deep house with that unmistakable sample finesse — pure signature gear.

A nod to the 9 incredible artists who feature on the release through digital exclusives — Astro alongside Ash Is, Rounds & Plastic GRN, Primitive Needs, Hotpretty, Tourman, Skinner (making his way through the Pyramid Fields portal), and Wigs — whose Trigger Step track has been getting heavy rotation from Spray and Roza Terenzi, to name a few.

Waking Dreams are Back

Excited to announce our second release, “CHANGES” — a key moment reflecting a shift in perspective and direction. The EP features 3 new tracks from AGELESS and a groovy remix by Panorama Bar queen PARAMIDA.

It’s my first time diving into faster, 90s and early 2000s-inspired sounds. Big thanks to my friend Elliot for pushing me out of my comfort zone.

Thanks to all the people involved
Claudio , José and Marco for the mastering !

Last summer, after living across the country from each other for several years, the four members of Anamanaguchi decided to try something new. Their label Polyvinyl had rescued the famed American Football house from potential destruction, so the band took the opportunity to move in and write together. Over the course of a month, Anamanaguchi – pioneers of hyper-melodic 8-bit rock, whose extraordinary ascent has led them to topping charts with virtual pop star Hatsune Miku and scoring Scott Pilgrim vs. the World: The Game and Netflix’s Scott Pilgrim Takes Off – flipped their typically meticulous digital process on its head. Anyway, the result, is the most personal record of their career. And it's a rock record for the ages.

Recorded straight to tape by Grammy-winning rock producer Dave Fridmann (The Flaming Lips, MGMT, Sleater-Kinney), Anyway united the members around live instruments and lyrics sung by everybody in the band. As Anamanaguchi has always been an instrumental band, the decision to sing suddenly confronted them with the question of what the band’s voice would ultimately be. They explore this newfound power in every song, making it their most emotionally resonant work yet.

Anyway captures a band creatively and personally energized by the experience of four best friends reviving their connection in a disconnected world. On “Rage (Kitchen Sink),” the band confront loneliness and boredom, two epidemics of the digital age that seem to be humanity’s only common bond. The power-pop ballad “Darcie” finds inspiration in small gestures from a local unsung hero, who brightens their lives and allows unforeseen amounts of fun to happen. Taut and dynamic, “Buckwild” is a rock sing-along that serves as the album’s genesis story: a band making an effort to do something new, while accepting the risks that may bring.

USA, Anamanaguchi’s critically-acclaimed second album and debut for Polyvinyl, anticipated a crucial cultural shift in moving from escapist, nostalgic fantasy to a more introspective exploration of digital identity. Described by Pitchfork as the band’s “most emotionally grounded record,” USA laid the foundation for the openness and honesty that defines Anyway. Where USA made sense of life online, their third album Anywayventures into the world outside the front door.

Formed by George Thompson, Kyle Martin and Jonathan Nash, Kommune were active between 2014-2015. As close friends living near each other, their musical journeys were intertwined; Nash and Martin had recently completed their debut album as Land Of Light, while Thompson (aka Black Merlin), at that time putting the finishing touches to his debut album ‘Hipnotik Tradisi’, was also working with Martin as part of the duo Spectral Empire. Sharing equipment and ideas, Kommune arose organically, serving as a creative outlet for exploring analogue machine music in an improvisational context.

Sessions in their North London studios led to a handful of gigs at venues including Hamburg’s legendary Golden Pudel and London’s LN-CC. This fleeting chapter of musical history may well have gone entirely undocumented had it not been for the fortuitous decision to meet up for a recording session in October 2014. Filling a car with their machines, they drove to a converted barn in the south of England, proceeded to set up, settle in and hit the record button. Over the course of two days, fuelled by the experiences of recent performances, the trio immersed themselves in the machines, crafting subtly evolving, long-form compositions with an enchanting balance and flow.

Across the four long-form compositions that make up ‘Oast’, the trio summons barely controllable scrapes, acid-like bubbles, and bleeps from their machines, leaning on dub mixing techniques to give the tracks a sense of depth, dynamism and organic ambience. Mastery of the TR-808 drum machine is central, with remarkably nuanced drum programming imparting a hypnotic rhythm to the work, allowing other elements to emerge and unfold at a beautifully measured tempo.

Recorded entirely live and improvised without any overdubs, ‘Oast’ offers a profound journey into minimalist electronic music while serving as a tribute to friendship, curiosity, and the spirit of experimentation.

Sleeve art and design by Michael Willis.

Issued in October 2014, debuting at number two on the UK Album Chart and at number five on
the Billboard 200 in the US, where it also became his second chart topper on the Dance/Electronic
Albums chart, Motion is Harris’ 4th studio album and a platinum-seller in the UK.
Packed with EDM crowd-pleasers as well as an impressive range of guest vocalists, including Hurts,
Haim, Gwen Stefani, John Newman and Ellie Goulding, it has been available on vinyl only once
before, a Record Store Day exclusive in 2015.
As Entertainment Weekly noted, “The best tracks on Motion…focus more on high-caliber vocals
than on booty-blasting low end... he's taking his chances with the most unpredictable technology
of all: the human voice."

Kobe Dupree unveils debut album, ‘Voice from the Inside’, arriving 21st May 2025. It lands on fellow Chicagoan DJ Hyperactive’s 4Trk (4 Track Recordings), and features twelve tracks already supported by the likes of Dustin Zahn, Truncate, Korea Town Acid, Amanda Mussi & more, coming out on wax alongside the digital release.

Dupree’s cosmic ambient opener, 'Jacurutu', sinks you into deep, sub-aquatic techno hypnosis before 'Heretics' layers up alien sounds and rolling kick drums. 'Syk' brings edgy, unrelieved loops and muffled spoken words over more mind-melting rhythm. The supple sounds and otherworldly atmospheres continue on 'Forms', which is marbled with static electricity, with 'Interlude of Voice' marking a moment to reset amongst gorgeous celestial synth smears.

The second half of the album takes in the more punchy but still perfectly loopy deep techno of 'Memory Replacement' and psychedelic swirls of 'Tongue of the Unseen'. There is a mystical charm to the harmonic tones of 'Gammu', a moodier vibe pervades the suspensory 'Fogwood', then 'Semuta Music' traps you in tightly coiled drums and hi-hats while a backlit glow soothes the soul. 'One of Many Faces' closes with a heart-aching piano piece that gets deeply emotional.

Kobe Dupree is a techno artist from Chicago with a deep interest in sound design and minimalism. His musical experiments have been released on Trax Research, Double Vision Records and DJ Hyperactive’s 4 Trk, on which he released the ‘Stimulate | Iterate’ EP in 2024. He has a hybrid approach to production, which involves using a modular rig for sound design before moving to a DAW for arrangement and final touches, heard on the sophisticated and cerebral ‘Voice from the Inside’ album.

Recorded in Los Angeles, California in 1965, The Wonderful World of Antonio Carlos Jobim was Jobim's second album to be recorded outside of Brazil,

following The Composer of Desafinado, Plays, which had been taped in 1963. While for his first American venture Jobim counted with arrangements

by Claus Ogerman, for this second effort he relied on the multiple talents of the great Nelson Riddle, who had a longstanding career working with Frank Sinatra,

Nat King Cole, and Ella Fitzgerald, to name a few. All of the compositions here are by Jobim, who plays piano, guitar, and also sings.

Along with well-known compositions such as "A Felicidade," "Agua de Beber" or "Dindi", this album introduced two new songs: "Bonita" and "Surfboard."

In recent years, Blackploid has come to be one of Central Processing Unit's signature artists. The German producer has averaged more than a record a year for the Sheffield imprint since he first landed on CPU in 2021. This prolific run continues withCosmic Drama, Blackploid's second LP for the label. The album takes the baton from its predecessorEnter Universein style, delivering twelve tracks of top-quality machine-funk that draw down from electro's classic artists while also imbuing proceedings with a playfulness that very much gives things a signature Blackploid-ish flavour.

Cosmic Dramasets its stall out from the off. The opening run of 'Alien', 'World Construction' and 'Virtual State' all deliver piston-snapping beats which anchor pleasing melanges of B-movie synth lines. Alongside this, Blackploid adds little flourishes which add buoyancy to each joint - a syncopated bassline reminiscent of I-f's late-90s classic 'Space Invaders Are Smoking Grass', crackling robo-voiced commands, skittering synth chords which wash across the mix and so on. It's the work of someone completely at ease with their craft, comfortable enough to take risks without upsetting the apple cart of their sound's core appeal.

Blackploid's idiosyncratic approach to synth work is something which distinguishesCosmic Dramafrom the pack. Electro has long been a genre which prides itself on innovation on the keys, but few producers are willing to push their sonics as far as Blackploid does - take the seasick churn of pads and processors on 'Multiverse', for instance, or the way John Carpenter-esque single-note lines dovetail with gurgling synthetic pulses and eerie, spacious chords on 'The Lab', a highlight ofCosmic Drama's midsection.

Cosmic Dramaskips along at club tempo throughout - every one of these joints will get bodies moving in dark rooms across the galaxy. However, even when tracks maintain their single-minded pursuit of machine-funk perfection, they never forget to deliver on the hooks. Blackploid has lead lines (and counter-melodies) to burn here, and each track knots them together in ever-more intriguing ways as they plough onwards. Drexciyan heads will be thrilled by the sci-fi delights of 'Species', for instance, while Blackploid brings melodies as cold as they are catchy on the aptly-named 'Polar Dunes'. By the timeCosmic Dramahits upon the vroom-vrooming bassline line of closer 'Contact', you're fully enthralled to the album's combination of broken-beat heft and synthetic melodiousness.

Central Processing Unit mainstay Blackploid comes through with another delightful dozen of electro heaters for the Sheffield label.

RIYL:Drexciya, I-f, Cygnus, AFX

- 180 GRAM AUDIOPHILE VINYL
- PVC PROTECTIVE SLEEVE
- MIKE OLDFIELD'S TUBULAR BELLS IS INSPIRED
BY THIS ALBUM
- FEATURED IN GRAND THEFT AUTO IV ON THE
RADIO STATION 'THE JOURNEY.'
- 50TH ANNIVERSARY LIMITED EDITION OF 500 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT VINYL

Keyboard virtuoso Terry Riley started experimenting with different instruments in the '50s. One of his electronic music landmarks is his third album A Rainbow in Curved Air. Through the use of overdubbing, he recorded all the instruments to feature on the title track. The composition consists of three movements, each representing another part of his musical influences. As the song progresses, its structure goes through frequent changes. It's an colorful, psychedelic, atmospheric and revolutionary song. The second track consists of a loop of saxophones and is the dreamy and calm opposite of the title track. Fans of electronic music, such as Tangerine Dream and Klaus Schulze, would love this record. Taking inspiration from Hindustani classical music and jazz techniques, Riley's masterpiece influenced many musicians, from the likes of Brian Eno to Emeralds.

A Rainbow in Curved Air 50th anniversary limited edition is available as 500 individually numbered copies on transparent vinyl.

Repress!

Tony Price is back again with Street Theatre, an electrifying new LP on his Maximum Exposure label that serves up eight tracks of rude, crude, real-deal house music with absolute attitude.

Following the recent release of the psychedelic jazz reveries of Requiem for the Ontario Science Centre, this is his second release of 2025 and marks a return to the dancefloor.

Street Theatre is total midnight music—eight tracks of ferocious Chicago house worship, replete with slamming drum machine beatdowns, laser-guided synthesizers, and radioactive funk refractions that evoke Z-Factor’s primal neon pulse, trench coat-era Prince, WBMX cut-ups, and Ron Hardy’s splice-happy Muzic Box mania.

Produced in the span of a week at his studio in Greektown, Toronto, these recordings exemplify what can now undoubtedly be called Tony Price’s signature style—an unvarnished, elemental, no-nonsense approach to record production and sound design that reduces dance music down to its crudest textures and core principles, an approach and ethos that have guided his entire body of work.

Tony’s recorded output showcases fearless exploration across genres—classic house, funk, electro, and the outer limits of electronic jazz and musique concrète. Street Theatre stands tall alongside his Hit Piece LP, the Bail Bonds EP, and his NTS show, The Maximum Exposure Power Hour, as a bold, ecstatic, and direct expression of the eternal essence of house music.

Heavily influenced by Motown and Stax soul sounds, Version is the second studio album by British DJ
and producer Mark Ronson, a triple platinum success in the UK that is by far his most successful and
helped to win him the BRIT Award for Best British Male Solo Artist.
Released in April 2007, it is entirely comprised of carefully selected cover versions produced with an
impressive cast of collaborators (from Ol’ Dirty Bastard to Robbie Williams) that produced three top
ten hit singles: ‘Stop Me’ with Daniel Merriweather, ‘Oh My God’ with Lily Allen and the timeless
Valerie featuring Amy Winehouse.

Alanis Morissette Delivers the Equivalent of a Spiritual Awakening on Supposed Former Infatuation Junkie:
Introspective Themes and Compassionate Emotions on Eastern-Tinged Album Have Grown More Relevant
1998 Smash Plays with Enhanced Detail, Rich Textures, and Sharp Focus on Mobile Fidelity’s 180g 33RPM 2LP Set:
First-Ever Audiophile Edition Strictly Limited to 3,000 Numbered Copies
1/2" / 30 IPS analogue master to DSD 256 to analogue console to lathe

Alanis Morissette refuses to adhere to convention on Supposed Former Infatuation Junkie. While most artists follow-up their breakthrough with an album that closely parallels the approaches that helped make them famous, the maverick singer-songwriter stayed true to herself and drew inspiration from travel to India before she began the recording sessions. As much as the preceding Jagged Little Pill put her on the global radar, Supposed Former Infatuation Junkie confirmed her role as a vital generational voice — and proved her blockbuster success was no fluke. Having set a mark for most sales of an LP in its debut week by a female artist, the 1998 smash remains a pop-rock staple.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, housed in a Stoughton jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s 180g 33RPM 2LP set of Supposed Former Infatuation Junkie presents the triple-platinum LP in audiophile sound for the first time. Benefitting from defined grooves that befit the album’s nearly 72-minute length, this pressing plays with enhanced detail, refined clarity, sharper focus, and broader dynamics than prior versions.

Those traits are key given Morissette’s use of more textured and atmospheric soundscapes, not to mention her evolution into a more nuanced and controlled singer. Similarly, the scale and reach of David Campbell’s string arrangements come across as orchestrations should. Ditto the synth-based architecture shaped by producer and principal Morissette collaborator Glen Ballard. All in all, Mobile Fidelity’s collectible edition simply delivers more information via transparent means.

Notable for its balance, sophistication, and richness, Supposed Former Infatuation Junkie at heart finds Morissette pausing, taking a breath, and learning how to navigate life in a healthy manner after enduring one of the most exhausting and rocket-to-fame stretches any musician ever experienced. It’s the sonic equivalent of a spiritual awakening, a call to betterment, a brave assessment of the self and humanity as a whole. As such, the tunes on her second international (and fourth Canadian) release teem with gratitude, compassion, love, empathy — emotions that lend themselves to the largely mellow, contoured scope and Eastern-tinged melodies of the songs themselves.

“How ‘bout how good it feels to finally forgive you,” Morissette sings on the lead single “Thank U.” “How ‘bout grieving it all one at a time.” Those sentiments, and the vocalist’s embrace of concepts such as divinity and acceptance, not only provide a foundation on which Supposed Former Infatuation Junkie rests. They also reflect the personal maturation she gained from her embrace of Buddhist culture in India and a mindset bent toward notions of reconciliation, peace, and sensuality that were nearly absent in popular music in the late ‘90s.

Those themes continue on “That I Would Be Good,” a confident reflection that takes stock of one’s mental, physical, and emotional state in the face of both changing and unpleasant circumstances — and concludes with Morissette performing a flute solo, further exposing the raw intimacy of the introspective tune. She channels relatable simplicity and joy on “So Pure,” with her invocations of “dance” and “freestyle” speaking to the freedom of expression that courses throughout Supposed Former Infatuation Junkie. And perhaps no song finds Morissette showcasing her refreshed attitude toward life and opening up more than the relationship-themed “Unsent,” whose unconventional structures and lack of a chorus only add to its directness.

Akin to many albums that were ahead of their time, and despite the critical and commercial accolades afforded it upon release, Supposed Former Infatuation Junkie attracted new appreciation and perspective as it got older. Issued during an era where its ideas of serenity, absolution, tranquility, and contentment seemed largely alien, the record — akin to the ways its predecessor foreshadowed a movement — now functions as a visionary beacon that foretells of way to maintain sanity, dignity, and goodness amid a contemporary landscape filled with constant distractions, polarizing views, and incessant calls to purchase, promote, and produce without questioning the what-for purpose.

Supposed Former Infatuation Junkie dares to ask the questions and, at its best, supplies meaningful answers and alternatives that lead to longed-for enlightenment, healing, and laughter. For these reasons alone, it’s a record that never goes out of style.

Editrix is a Massachusetts-rooted trio known for their wild, gnarly take on experimental rock. Blending jagged guitar riffs, unpredictable rhythms, and bursts of cartoonish eccentricity, the band creates a sound that's both chaotic and compelling. Composed of singer and guitarist Wendy Eisenberg, drummer Josh Daniel, and bassist Steve Cameron, Editrix thrives on musical risk-taking, often veering into noise-rock territory with a playful edge. On their latest release, The Big E, Editrix unleashes their fangs, resulting in a demonic wall of scuzz. But for as intense as Editrix sounds, the act is convivial and easygoing _ ingrained in deep friendships and speedy, yet jovial recording sessions. Editrix's most pummeling moments seem to be founded on a heartfelt connection, adding emotional resonance to their most feral noise. In the three years since their second LP Editrix II, Eisenberg, Daniel, and Cameron have thrived in individual states of motion _ in and away from music. New York City-based Eisenberg is an accomplished solo artist in the avant-garde realm, receiving recent acclaim for their album Viewfinder (released by American Dreams in 2024). They are also a prolific collaborator, performing in a handful of projects alongside the likes of romantic partner more eaze, Bill Orcutt, David Grubbs, and others. Cameron relocated from Massachusetts to New York City around the same time Editrix II came out, taking a slight step away from music to return to school. Daniel is the only member of Editrix left living in Massachusetts, and performs with the eclectic bands Landowner, Hot Dirt, and The Leafies. Due to Editrix being scattered, the band's new album, The Big E, found them toying with a fresh process. Editrix was quick to write off the idea of collaborating remotely, as the act relishes the warmth of happy accidents that only happen in person. The Big E sparked with Eisenberg, Daniel, and Cameron compiling a list of albums they each admire to establish a self-professed "vibe" up front. King Crimson, My Disco, and Horse Lords were a few key touchstones that shine through, their grounded grooviness balancing erraticism. Eisenberg also found themself infatuated with `70s outlaw country and Van Dyke Parks production. The Big E is titled after a comedic bit between band members, sharing its name with a prominent regional fair in Western Massachusetts, although the title-track aptly features massive E chords. When held up alongside Editrix II _ which found the act toying with Finnish death metal and harsh noise _ The Big E feels settled in its skin. Editrix recorded The Big E with legendary tech death producer Colin Marston (Krallice, Behold_, Dysrhythmia) at his soon-to-be-shuttered studio in Queens. Though these tracks sound toiled over and technical, they are very spontaneous. The majority of The Big E was captured live, with a handful of overdubs added after the fact and came to life over the course of four focused, but rewarding days. Eisenberg uses zen words like "meditative" and "evocative" to describe Editrix's methods, but the end result is crunchy, intricate, and impressively baffling. Easygoing as the band's operation may be, The Big E is a strong jump forward for Editrix inching them towards the center of the avant-rock constellation.

D.S.A. and Night School Records are once more teaming up to release a limited edition 7”: Certe Notti by Molly Nilsson. The
record contains the two new songs Un Po’ Più Vicino al Cielo and Il Peggior Bar di Caracas.
The songs were written and recorded in August 2024 in San Giorgio del Sannio, Benevento, during a month long artist
residency, made possible thanks to the kind invitation and hospitality of AUNA a.p.s.
A whole moon spent between local festivities, sagras and late nights in the best of worst bars, making new friends
forever and life-long memories (including an unforgettable Inti-Illimani concert), all infused with sweet drinks and ancient
lore of local witches.
The cover art depicts the view from the window on one of those nights, the rising moon, Liquore Strega yellow, and the
inlay hints at Nilsson's favourite crosswords magazine. With all these distractions it’s really a wonder any music was
made at all. But thanks in large part to endless espressi and ginseng, two new songs came to be. The first is Nilsson’s
first opus in the Italian language! The second, a hommage to her favourite joint and hang out, The Worst
Bar in Caracas.

Margarita Witch Cult captured lightning in a bottle with their 2023 debut- a blink-and-you'll-miss-it behemoth that saw the band thrash and burn through Europe and the UK, picking up legions of fans and touring with the likes of Cancer Bats, Monster Magnet and Nebula. Now, the Birmingham trio are set to pick their teeth with the bones of their own past- as their second LP 'Strung Out In Hell' takes everything that was so compelling about their debut and turns the knob up to 11; rips off the knob; throws the knob into the fires of hell and cackles maniacally in the wake of its demoniacal glory. From top-to-tail, 'Strung Out In Hell' is a cloven hoof to the chest; a dizzying descent through infernus. It will caress you only to chew you up and spit you out. It is the soundtrack to the afterparty of all life on earth. Succumb to its sordid siren song. Bolder, stranger, and downright more mean, there's no better time to jump on the Margarita Witch Cult train- and it's going straight down, fast.

Gold Nugget Vinyl, limited to 400 copies. Margarita Witch Cult captured lightning in a bottle with their 2023 debut- a blink-and-you'll-miss-it behemoth that saw the band thrash and burn through Europe and the UK, picking up legions of fans and touring with the likes of Cancer Bats, Monster Magnet and Nebula. Now, the Birmingham trio are set to pick their teeth with the bones of their own past- as their second LP 'Strung Out In Hell' takes everything that was so compelling about their debut and turns the knob up to 11; rips off the knob; throws the knob into the fires of hell and cackles maniacally in the wake of its demoniacal glory. From top-to-tail, 'Strung Out In Hell' is a cloven hoof to the chest; a dizzying descent through infernus. It will caress you only to chew you up and spit you out. It is the soundtrack to the afterparty of all life on earth. Succumb to its sordid siren song. Bolder, stranger, and downright more mean, there's no better time to jump on the Margarita Witch Cult train- and it's going straight down, fast.

Best of' albums are invariably repackaged collections of old recordings, so Vice Squad's `Punk Rockers' is a breath of fresh air The songs have been lovingly recorded and remastered, keeping all the original fire and adding decades of experience gained from punishing tours and continuous songwriting Beki is the original architect of the songs and the Vice Squad name, and she is the sole surviving member of the original lineup to have continued as a full-time musician Vice Squad are 100% DIY and record everything in their home studio with guitarist/riffmaster Paul Rooney engineering and mixing. There is nothing sloppy here; the whole album is concise and intelligent with lightning-speed diction, passion, and intent. The glorious `If I Knew What I Know Now' and `The World Is Wrong' are examples of Vice Squad's ability to write instantly catchy, witty songs, and the more gut-wrenching material from their last album, `Battle of Britain', showcases some enormous riffs and a voice that is a million decibels from Beki's untried teen vocals. The album opens with the deliciously effervescent `If I Knew What I Know Now', followed by the sparkling old-school tongue-twister `Out of Reach'. Next up is the visceral `Get A Life', an angry anti-suicide note to the desperate, originally the title track from their 1998 comeback album. This is followed by a shimmering version of Vice Squad's old-school classic `Resurrection'. While the treatment of the old songs remains true to the original teenage renditions, the upgraded versions pack more of a punch with detuned guitars and growling bass. The tribal tom-toms of `Allergy' underpin just over two minutes of punk protest about the delights of pollution and asthma. Then comes the sublime `Sniffing Glue', a near-perfect punk love song that would be a huge hit if not for its subject matter. `Ordinary Girl' is punk-pop perfection brimming with hook lines and harmonies, warmly mocking the life that could have been chosen instead of the grindstone at the sharp end of the music industry. `The World Is Wrong' is anthemic, joyous, and wonderfully contrary, and one would expect nothing less from a band that has soldiered on and grown through the decades. It's always great when bands lead by example. In these increasingly tough times where our survival is threatened by the gargantuan greed of a few individuals, it's important to continuously stick two fingers up to the grabbers and spoilers. 'The World Is Wrong' does just that in an impassioned, melodic, and optimistic style. 'Hold your head up, stand your ground, and don't let the bastards grind you down.' Then we roar into the final single Beki wrote with original and now sadly deceased guitarist Dave Bateman, `Citizen', and continue with another teenage opus, the quite brutal `Scarred For Life'. `Voice of the People' is a bulldozer of a song, all swagger and ballsy riffs, and the chorus, `Freedom of speech is against the law; now we're all criminals,' snarls its derision at red-handed red tape. `Punk Police' sneers over a catchy-as-COVID guitar riff, and the lyrics, `Regulation cut, you must measure up, down on the street, PR companies, monied families, running the scene,' call out the hierarchies that now permeate Punk. Baritone guitars add extra darkness to one of the first-ever animal rights songs, `Humane', and I'm struck by how relevant the older songs are. Chocks away, and the awesome 'Spitfire' takes flight like Motörhead on extra amphetamines. Merlin engines fade into `Born In A War', the second in the triumvirate of conflict-themed songs, an absolute stonker with huge muscular riffs and lyrics that roar pure outrage. Then comes the ominous Last Rockers, with all the angst of the original plus added depth and resonance. Beki: ' "Last Rockers" is a typically depressive adolescent song about nuclear war and being too young to die but too late to live. I believed Punks were the `Last Rockers', the final youth cult before the Apocalypse. I was obsessed with punk, and all I wanted to do was sing in a band and be part of the movement, so I would often romanticise the idea of punk in my lyrics.'

Best of' albums are invariably repackaged collections of old recordings, so Vice Squad's `Punk Rockers' is a breath of fresh air The songs have been lovingly recorded and remastered, keeping all the original fire and adding decades of experience gained from punishing tours and continuous songwriting Beki is the original architect of the songs and the Vice Squad name, and she is the sole surviving member of the original lineup to have continued as a full-time musician Vice Squad are 100% DIY and record everything in their home studio with guitarist/riffmaster Paul Rooney engineering and mixing. There is nothing sloppy here; the whole album is concise and intelligent with lightning-speed diction, passion, and intent. The glorious `If I Knew What I Know Now' and `The World Is Wrong' are examples of Vice Squad's ability to write instantly catchy, witty songs, and the more gut-wrenching material from their last album, `Battle of Britain', showcases some enormous riffs and a voice that is a million decibels from Beki's untried teen vocals. The album opens with the deliciously effervescent `If I Knew What I Know Now', followed by the sparkling old-school tongue-twister `Out of Reach'. Next up is the visceral `Get A Life', an angry anti-suicide note to the desperate, originally the title track from their 1998 comeback album. This is followed by a shimmering version of Vice Squad's old-school classic `Resurrection'. While the treatment of the old songs remains true to the original teenage renditions, the upgraded versions pack more of a punch with detuned guitars and growling bass. The tribal tom-toms of `Allergy' underpin just over two minutes of punk protest about the delights of pollution and asthma. Then comes the sublime `Sniffing Glue', a near-perfect punk love song that would be a huge hit if not for its subject matter. `Ordinary Girl' is punk-pop perfection brimming with hook lines and harmonies, warmly mocking the life that could have been chosen instead of the grindstone at the sharp end of the music industry. `The World Is Wrong' is anthemic, joyous, and wonderfully contrary, and one would expect nothing less from a band that has soldiered on and grown through the decades. It's always great when bands lead by example. In these increasingly tough times where our survival is threatened by the gargantuan greed of a few individuals, it's important to continuously stick two fingers up to the grabbers and spoilers. 'The World Is Wrong' does just that in an impassioned, melodic, and optimistic style. 'Hold your head up, stand your ground, and don't let the bastards grind you down.' Then we roar into the final single Beki wrote with original and now sadly deceased guitarist Dave Bateman, `Citizen', and continue with another teenage opus, the quite brutal `Scarred For Life'. `Voice of the People' is a bulldozer of a song, all swagger and ballsy riffs, and the chorus, `Freedom of speech is against the law; now we're all criminals,' snarls its derision at red-handed red tape. `Punk Police' sneers over a catchy-as-COVID guitar riff, and the lyrics, `Regulation cut, you must measure up, down on the street, PR companies, monied families, running the scene,' call out the hierarchies that now permeate Punk. Baritone guitars add extra darkness to one of the first-ever animal rights songs, `Humane', and I'm struck by how relevant the older songs are. Chocks away, and the awesome 'Spitfire' takes flight like Motörhead on extra amphetamines. Merlin engines fade into `Born In A War', the second in the triumvirate of conflict-themed songs, an absolute stonker with huge muscular riffs and lyrics that roar pure outrage. Then comes the ominous Last Rockers, with all the angst of the original plus added depth and resonance. Beki: ' "Last Rockers" is a typically depressive adolescent song about nuclear war and being too young to die but too late to live. I believed Punks were the `Last Rockers', the final youth cult before the Apocalypse. I was obsessed with punk, and all I wanted to do was sing in a band and be part of the movement, so I would often romanticise the idea of punk in my lyrics.'

Vice Squad are 100% DIY and record everything in their home studio with guitarist/riffmaster Paul Rooney engineering and mixing. There is nothing sloppy here; the whole album is concise and intelligent with lightning-speed diction, passion, and intent. The glorious ‘If I Knew What I Know Now’ and ‘The World Is Wrong’ are examples of Vice Squad’s ability to write instantly catchy, witty songs, and the more gut-wrenching material from their last album, ‘Battle of Britain’, showcases some enormous riffs and a voice that is a million decibels from Beki's untried teen vocals. The album opens with the deliciously effervescent ‘If I Knew What I Know Now’, followed by the sparkling old-school tongue-twister ‘Out of Reach’. Next up is the visceral ‘Get A Life’, an angry anti-suicide note to the desperate, originally the title track from their 1998 comeback album. This is followed by a shimmering version of Vice Squad's old-school classic ‘Resurrection’. While the treatment of the old songs remains true to the original teenage renditions, the upgraded versions pack more of a punch with detuned guitars and growling bass. The tribal tom-toms of ‘Allergy’ underpin just over two minutes of punk protest about the delights of pollution and asthma. Then comes the sublime ‘Sniffing Glue’, a near-perfect punk love song that would be a huge hit if not for its subject matter. ‘Ordinary Girl’ is punk-pop perfection brimming with hook lines and harmonies, warmly mocking the life that could have been chosen instead of the grindstone at the sharp end of the music industry. ‘The World Is Wrong’ is anthemic, joyous, and wonderfully contrary, and one would expect nothing less from a band that has soldiered on and grown through the decades. It’s always great when bands lead by example. In these increasingly tough times where our survival is threatened by the gargantuan greed of a few individuals, it's important to continuously stick two fingers up to the grabbers and spoilers. 'The World Is Wrong' does just that in an impassioned, melodic, and optimistic style. 'Hold your head up, stand your ground, and don't let the bastards grind you down.' Then we roar into the final single Beki wrote with original and now sadly deceased guitarist Dave Bateman, ‘Citizen’, and continue with another teenage opus, the quite brutal ‘Scarred For Life’. ‘Voice of the People’ is a bulldozer of a song, all swagger and ballsy riffs, and the chorus, ‘Freedom of speech is against the law; now we’re all criminals,’ snarls its derision at red-handed red tape. ‘Punk Police’ sneers over a catchy-as-COVID guitar riff, and the lyrics, ‘Regulation cut, you must measure up, down on the street, PR companies, monied families, running the scene,’ call out the hierarchies that now permeate Punk. Baritone guitars add extra darkness to one of the first-ever animal rights songs, ‘Humane’, and I’m struck by how relevant the older songs are. Chocks away, and the awesome ’Spitfire’ takes flight like Motörhead on extra amphetamines. Merlin engines fade into ‘Born In A War’, the second in the triumvirate of conflict-themed songs, an absolute stonker with huge muscular riffs and lyrics that roar pure outrage. Then comes the ominous Last Rockers, with all the angst of the original plus added depth and resonance. Beki: ' "Last Rockers" is a typically depressive adolescent song about nuclear war and being too young to die but too late to live. I believed Punks were the ‘Last Rockers’, the final youth cult before the Apocalypse. I was obsessed with punk, and all I wanted to do was sing in a band and be part of the movement, so I would often romanticise the idea of punk in my lyrics.' The four bonus CD tracks kick off with ‘Coward’, another teen Bateman/Bond composition. ‘No You Don’t’ is just over two minutes of vocal acrobatics over a Dexedrine-driven Devo-esque chord sequence, and the frantically brilliant ‘I Dare To Breathe’ from ‘Battle of Britain’ continues the aural assault. Then the final sombre entreaty of ‘You Can’t Buy Back The Dead’ warns us that ‘Enough’s never enough; absolute power will corrupt; the war machine still rumbles on’ before fading into the future.

“My hero’s back,” Madeline Kenney sings on the second track of her newest effort, Kiss from the Balcony. In a sense, she means herself; made with friends Ben Sloan and Stephen Patota across just a few in-person studio sessions in Oakland, these tracks represent a culmination of Madeline’s musings on growth and resilience reaching back years, brought to life through this generative and vibrant collaboration. Close listeners can hear the breadth of stylistic elements and themes carried through from various eras of her work, which all come together in a cohesive and timeless record.

In two week-long intensive sessions, the three collaborators grew these nine songs from fragments, sketches, and seeds. With a background in experimental percussion and sound design, Ben Sloan brings an electronic sound to Kenney’s writing; Stephen Patota provides ingenious guitar melodies throughout and grounds the project in acoustic elements. Kiss from the Balcony was originally intended to be an EP, but the sessions brought forth such fruitful ideation and play that the project was expanded to a full length album. It sits in Madeline’s discography as a thematic and musical progression that sees her iterate on ideas about love and explore new sonic motifs through her work with Patota and Sloan.

Much of Kiss from the Balcony is a meditation on modern relationships, a feminist and utterly human contemplation of power and who holds it. “Hereditary backward leaning,” she describes in ‘Slap,’ of the female condition; “But no-one ever likes to see the girls break down / So they keep it to the bathroom floor” she sings in the rapturous opener, ‘Scoop.’ While the songs are shrouded in metaphor, the ubiquity of heartbreak and resilience decode much of the internal conflict Kenney depicts. The album sees her recognize the precarity and peculiarity of life and take it by the horns, realizing she controls her own narrative:


She explores the relationships between joy and suffering, choosing to see them as inseparable, two sides of a single coin. “It’s never over / When will they love me?” Kenney asks on ‘They Go Wide,’ describing her positionality both as a woman in relationship and as an indie artist in the modern music industry.

A playful hopefulness pervades the record, providing a sense of revelation in the journey throughout, Kenney’s radical acceptance of life as it is like a lyrical tongue out at the absurd.

The highly anticipated 3rd full-length by this Finnish band. Morbific is a rotten-to-the-core Death Metal trio deformed in the filthy and profaned boneyard of Kitee in early 2020, featuring Olli (guitar), Jusa (vocals / bass) and Onni (drums). The band’s Pestilent Hordes demo was unleashed in the summer of 2020, and it rapidly gained them some following amongst the finest gourmets of the variety of festering, moldering and disgusting Death Metal that’s malignantly influenced by Autopsy, Rottrevore, Deteriorot, Mortician, Grave, Maimed, Undergang, Impetigo and ancient Finnish masters of death and decay, such as Funebre and Disgrace. Shortly after, in the spring of 2021, the debut full-length Ominous Seep of Putridity saw the odious light of day to unanimous praise by both the fans and the media. Just a year later, and now aligned with Memento Mori, Morbific released their second full-length, Squirm Beyond the Mortal Realm. Aptly titled, the album quickly became a cult favorite of utterly uncomfortable, slimy Death Metal. Now, Morbific are prepared to eclipse such a sewer-dwelling “highwater” mark with Bloom of the Abnormal Flesh. Whereas its not-inconsiderable predecessor confronted the listener with a blown-out, almost demo-level feel, the Finns’ third full-length proves that they can move and mesmerize and maim no matter what the soundfield is. And on Bloom of the Abnormal Flesh, it’s a raw-yet-robust show of strength, “classic” Death Metal production in a most late 80’s fashion; just witness that gurgling, fuzz-tinged bass and feel its radioactive waves envelope you. But production is one thing and songwriting is another, and with the latter, Morbific are truly hitting their stride here. Lumbering and stomping, with well-timed bouts of disgusting gallop or even ragged blasts, their songwriting twists and indeed squirms with off-kilter insanity; some would call it chaos, if not for the exceptionally tight musicianship on display here, with the sum result being an uncomfortableness that bubbles up from a deeper gutter. Thankfully, Bloom of the Abnormal Flesh conveys its dark, disgusting and unconventional aura across every element -said chops simply heighten these sensations- and is, thus far, Morbific’s best melding of form and content. Cro-Magnon as ever but somehow enlightened in the creepiest sense possible, Morbific continue their reputation as Finland’s filthiest and Death Metal’s untrendiest weirdoes. Vividly captured by Chase Slaker’s cover artwork, Bloom of the Abnormal Flesh is the foulest stench only for the brave!

The fourth release on ALT, the sub label of Cartulis Music, sees the return of AV1, the freshly formed French duo composed of Chris Carrier and Le Loup. Following the success of Waves + Plants Pt. 1 (ALT004.1), the pair now delivers the highly anticipated second chapter, pushing the boundaries of their sonic exploration

AV1 is the result of a deep-rooted connection between two of the most respected names in the Parisian underground scene. Chris Carrier, a prolific producer and DJ since the late ‘90s, has carved out a legacy with his unmistakable approach to house and techno. Le Loup, equally revered for his refined touch and forward-thinking productions, brings his own signature style to the table. Together, they craft an electrifying synergy built on a shared love for acid, deep grooves, and classicist house/techno foundations.

Waves + Plants Pt. 2 (ALT004.2) expands on the energy of the first release, offering a fivetrack journey through a diverse soundscape. Blurring the lines between trance, techno, breaks, and experimental sounds, the EP showcases AV1’s ability to merge different sonic textures into a cohesive, cutting-edge release. From hypnotic acid sequences to raw drum programming and ethereal atmospheres, each track presents a unique side of their creative vision.

This latest installment solidifies AV1’s place as a standout project in contemporary electronic music and reaffirms ALT’s commitment to releasing forward-thinking, genre-defying sounds.

FRENÉTIKA RECORDS is a new record label based in Nova Prata/RS Brazil, bringing its second release. “MAGIA DA VUDU EP” was inspired by the experiences of friends and dedicated to a very special friend Thaina Severo, aka Vudu.. The EP features three talented artists from the new Latin generation: Molen from Uruguay, Trajano from Brazil and Alquimic from Peru.

The composition of the EP was meticulously thought out to be a complete and mature record with specific tracks and complementary aesthetics so that it could be used at all times.

Limited 300 copies!

Highly respected Brooklyn-based record store Archivio Records launches its flagship label, with the help of legendary UK Tech House pioneer Affie Yusuf.

This remarkable four track EP made up of previously unheard and unreleased gems, captured from DATs long thought lost during the mid-90s golden era of Swag Records, Wiggle, Surreal and co. delivers four distinct tracks, perfectly curated to suit the mood of the most discerning dance floors, at any time of the night!

Uba Cuba sees Affie transport you to pre-Revolution Havana, where the rum flowed and the good times rolled. A playful Latin-infused tech house roller, this track is guaranteed to put a smile on the face of everyone on the dance floor!

For the first track under his Parkwalker alias, Pashtwo is a decidedly deeper and darker excursion with a driving bassline, trippy vocals and a constant forward motion, perfect for those moments when you have the crowd really locked in.

Urgez Untold, the second Parkwalker contribution to the EP is an airy, groovy journey designed for those after hours moments when the sunlight is creeping in and the crowd is ready to let it all go in the pursuit of euphoria. Hypnotic bass, ethereal synths and bouncy, tropical drums give this one a universal appeal and a timeless feel.

Finally, Ode Reticular is Affie Yusuf at his brilliant, inventive best, crafting an epic track with three distinct phases. Starting as a dubby minimal chugger before morphing in to a quirky, playful tech house roller, then final chapter sprinkles mystical progressive elements to take you to another dimension, without ever needing to lose your spot on the dance floor.

An essential release for lovers of the early UK Tech house sound, seeking out undiscovered gems from the glory days of mid-90s London.

With future releases featuring Mark Ambrose, Pure Science, Carl Finlow and more, this is a label to watch closely and collect religiously.