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Indie pop quartet Melenas hail from Pamplona, Spain, a picturesque region nestled just south of the Pyrenees. Such beauty can't help but inform the band's songwriting, but Melenas aren't content to just sit placidly & take in the scenery. Since they burst onto the scene in 2016, the band has hit the ground running, playing incessantly both locally & on the stages at national festivals like Primavera Sound & Eurosonic as well as releasing a debut full length (2018's "s/t" album) and a 7-inch single both triple-released on local labels Elsa, Nebula & Snap! Clap! Club. Trouble In Mind is honored to be releasing their new album Dias Raros and is the first label outside of Spain to release Melenas music to the world.Dias Raros hums right from the get-go, peppering their garage-pop punch with elements of lysergic dream pop, melancholic indie rock and strident guitar jangle. The album title translates to "Strange Days" an acknowledgement - according to the band - of "...those days where you spend more time inside than outside. Inside your own self, inside your bedroom and your own universe thinking about your wishes, dreams, memories, obsessions or fears." The lyrics - sung entirely in their native Spanish - reference "those interior dialogues where sometimes you fight to escape from a situation, you wonder what another person will be thinking about or feeling, you gotta say goodbye, or you just enjoy the time by yourself. Days that, for different reasons, you're feeling different, they are strange". Opener "Primer tiempo" buzzes with an urgent organ drone, unfolding into a yearning ballad of modern guitar-pop bolstered by the group's lush harmonies & sets the tone for the rest of Dias Raros. Songs like "No puedo pensar" "3 Segundos" and "Despertar" follow suit, with the rhythm section galloping headlong into an insistent guitar strum, while ballads like the tender "El Tiempo ha Padsado" rely on the band's melodious voices bolstered by a lilting guitar riff and gentle organ swells. Elsewhere mid tempo rockers like the stomping "Los alemanes", the simmering "Ciencia Ficción" and "Ya no es Verano"s insistent jangle recall underground greats like The Pastels, R.E.M. and Shop Assistants. "Vals" ("Waltz") closes the album in 3/4 time, named for the ballroom dance as well as the last name of a close friend - a dedication to her. Its dreamy sway alluding to classic Brill Building songwriting; dusted with melancholy, but lifted by cascading voices, and organ and guitar waves and guitars that twinkle and shimmer over a cracking backbeat. Dias Raros is the perfect introduction to a band bursting with promise, confidently inhabiting their own space built upon the foundation of their influences both geographically and culturally, as well as musically.

ARTIST OVERVIEW Mixing warm acoustic tones and strong vocals with heavy emo elements, the band launched several DIY tours, quickly developing a national presence. Signing with Boston indie Topshelf Records, they released their debut album, “The Earth Pushed Back" and in 2014, Have Mercy signed with vaunted indie Hopeless Records, which released their second LP, “A Place of Our Own”, later that year. Working with producers Paul Leavitt (All Time Low) and Brian McTernan (Thrice), Swindle and a rotating crew recorded the band’s Hopeless follow-up, “Make the Best of It”, which was released in early 2017. Have Mercy returned with “The Love Life” in 2019, which charted Swindle’s tumultuous personal life over the previous three years. The band came back in August 2022 with a self-tiled EP, released via Zodhiac Records, which caught the attention of Brooklyn Vegan, FLOOD Magazine, The Noise, and more. In september 2022 they shared an unreleased B-Side from their 2012 EP, My Oldest Friend, titled "Seventeen" via Rude Records. BAND MEMBERS Andrew Johnson // Guitar, Backing Vocals Brian Swindle // Lead Vocals, Guitar, Keyboard Nick Woolford // Bass, Backing Vocals TOURING HISTORY Since 2012, Have Mercy has toured both nationally and internationally with such acts as Taking Back Sunday, Motion City Soundtrack, Senses Fail, Mayday Parade, The Maine, The Wonder Years, Turnover, Real Friends and Neck Deep

Those familiar with the sound and style of the DIY scene in Chicago's Logan Square may be surprised to find out that it was the birthplace of psych pop quintet Lucille Furs. They are a little surprised themselves.

At the time it wasn't exactly the place to hear harmonies and harpsichords so much as songs about sniffing glue. This isn't to say they didn't like the raucous power of Magik Milk, on the contrary. But, as the people who would come to make up the band began to talk, it became clear that they wanted to make something different entirely. They wanted to make something with the heartbeat of sweaty city basement shows but with the unrestrained imagination of places and times where they had never been.

Bassist Patrick Tsotsos will tell you about the music of post-war Greece where his grandparents grew up. Guitarist Nick Dehmlow will tell you about the garage bands of LA. Drummer Brendan Peleo-Lazar can fill you in on a late 60s London studio session as though he was running the tape machine. Mellotron/organ player Constantine Hastalis can show you a record by some long-forgotten folk singer who writes so earnestly you won't forgive the world for forgetting it. Singer Trevor Newton Pritchett is unapologetic about what they borrow. "You might hear the Zombies for their kind of haunting and contemplative quality, the Kinks kind-of casual criticism, the West Coast Pop Art Experimental Band for their distant romantic quality, Temples, Love, Diane Coffee, Charles Bradley or our Chicago people Post Animal, Jude Shuma and Whitney." Now that half of the band is located in Los Angeles you'll be likely to hear those influences, too.

And that's what becomes crystal clear when listening to the upcoming album Another Land. It's an immersive listen, the kind of record you can get lost in on a cross-country drive from the midwest to the west coast. A record with warm blood running through its veins. Music where thought can be abandoned.

The whole record is dressed up in surreal and esoteric terms, in exchange for being topical. Think Dylan lyrics from the late 60s. "Paint Euphrosyne Blue" is kind of a meta-level example of that. The song is a reference to the goddess of mirth, about the human need to adapt to the point of becoming unoriginal. It's about chasing Van Gogh's depression because it makes you feel like a better painter.

The album was written through September 2017 and was recorded following the release of the self-titled Lucille Furs album later that year. It was recorded direct to tape before being completed at Treehouse Records in Chicago.

For fans of: The Kinks, The Zombies, Love, West Coast Pop Art Experimental Band, The Byrds, The Beatles, Foxygen, Triptides, Temples, Mystic Braves, Levitation Room

Those familiar with the sound and style of the DIY scene in Chicago's Logan Square may be surprised to find out that it was the birthplace of psych pop quintet Lucille Furs. They are a little surprised themselves.

At the time it wasn't exactly the place to hear harmonies and harpsichords so much as songs about sniffing glue. This isn't to say they didn't like the raucous power of Magik Milk, on the contrary. But, as the people who would come to make up the band began to talk, it became clear that they wanted to make something different entirely. They wanted to make something with the heartbeat of sweaty city basement shows but with the unrestrained imagination of places and times where they had never been.

Bassist Patrick Tsotsos will tell you about the music of post-war Greece where his grandparents grew up. Guitarist Nick Dehmlow will tell you about the garage bands of LA. Drummer Brendan Peleo-Lazar can fill you in on a late 60s London studio session as though he was running the tape machine. Mellotron/organ player Constantine Hastalis can show you a record by some long-forgotten folk singer who writes so earnestly you won't forgive the world for forgetting it. Singer Trevor Newton Pritchett is unapologetic about what they borrow. "You might hear the Zombies for their kind of haunting and contemplative quality, the Kinks kind-of casual criticism, the West Coast Pop Art Experimental Band for their distant romantic quality, Temples, Love, Diane Coffee, Charles Bradley or our Chicago people Post Animal, Jude Shuma and Whitney." Now that half of the band is located in Los Angeles you'll be likely to hear those influences, too.

And that's what becomes crystal clear when listening to the upcoming album Another Land. It's an immersive listen, the kind of record you can get lost in on a cross-country drive from the midwest to the west coast. A record with warm blood running through its veins. Music where thought can be abandoned.

The whole record is dressed up in surreal and esoteric terms, in exchange for being topical. Think Dylan lyrics from the late 60s. "Paint Euphrosyne Blue" is kind of a meta-level example of that. The song is a reference to the goddess of mirth, about the human need to adapt to the point of becoming unoriginal. It's about chasing Van Gogh's depression because it makes you feel like a better painter.

The album was written through September 2017 and was recorded following the release of the self-titled Lucille Furs album later that year. It was recorded direct to tape before being completed at Treehouse Records in Chicago.

For fans of: The Kinks, The Zombies, Love, West Coast Pop Art Experimental Band, The Byrds, The Beatles, Foxygen, Triptides, Temples, Mystic Braves, Levitation Room

Scout (Amsterdam, 17 februari 2001) heeft in de afgelopen jaren volledig zijn eigen geluid gevonden binnen de Nederlandse popmuziek. In een wereld tussen Hip-Hop en alternatieve Pop ziet de zanger en producer zich als verhalenverteller. In zijn EP "littekens" komt zijn grootse en melancholische geluid tot leven in een verhaal over zijn ervaringen met liefde en mentale gezondheid. Door in zijn eigen slaapkamer te schrijven en op te nemen is de EP doordrenkt met kwetsbaarheid en intimiteit. Hierdoor neemt de opkomende ster de luisteraar mee naar zijn eigen wereld.

Na jaren ervaring te hebben opgedaan op piano pakt Scout in 2016 voor het eerst een basgitaar op en voordat hij het weet schrijft de jonge artiest op zijn kleine studentenkamertje in Delft zijn eigen muziek. Het ging ineens niet meer over noten, rijmschema's en akkoorden: het maken van muziek was uitgegroeid tot zijn therapeutische uitlaatklep. Hieruit volgt in 2020 uiteindelijk zijn self-titled debuutalbum "Scout".

Sinds eind 2022 brengt het opkomend talent consistent muziek uit en vindt hij zijn eigen weg binnen het muzieklandschap. Door steeds meer instrumenten onder de knie te krijgen en meer en meer te leren over muziek en emotie ontstaat een werkelijk nieuw, echt en eigen geluid wat maar met één woord te omschrijven valt: kippenvelmuziek.

Na het uitkomen van zijn EP "littekens" in april 2023 wordt hij benaderd om dit werk uit te brengen op vinyl. Om deze muzikale reis uit te breiden en om nog dieper in de wereld van scout te duiken bevat de LP vier bonustracks. Hieronder valt een akoestische versie van het populairste nummer "herfst", die de kwetsbaarheid van de jonge maker nog verder naar voren brengt. Ook bevat de LP een live versie van "de wereld draait door". Deze versie is opgenomen in beroemd restaurant "De Goudfazant" in Amsterdam. Een speciale plek voor Scout, hier heeft veel van zijn familiegeschiedenis zich afgespeeld. Het nummer komt hierdoor nog meer tot zijn recht door het rauwe geluid van alleen piano en stem. Ook bevat de LP twee extension tracks die het verhaal van de spreekwoordelijke littekens verder uitbreiden. Zo komt Scout in zijn nummer "hartendief" tot de realisatie dat zijn partner hem niet ziet zoals hij haar en komt hij in het nummer "kwijt voor altijd" tot een besluit om het hoofdstuk van deze littekens voorgoed af te sluiten. Deze extension tracks zijn tot op heden alleen te beluisteren op de LP maar zullen in de loop van 2024 ook op streamingdiensten verschijnen. Deze releases zijn de voorzet voor een reeks singles in 2024 die uiteindelijk zullen leiden tot zijn eerste studioalbum in 2025.

The official re-edition of WESTFALEN is now a reality and we are joyous with this opportunity of releasing this cult band from the '80s Belgian Heavy Metal scene! From now on, we will have the opportunity to listen WESTFALEN's 1985 self-titled mini-album on a vinyl reissue, which will include the original artwork concept, as well as live bonus tracks from the 2012 reunion concert at the Metal Legacy Festival in Genk, Belgium

Already in the early stages of the label, Stijn Hüwels joined Dauw after a string of self-released albums. It was very much at the beginning of his artistic career but his Dauw debut – centered around melancholic narratives - was exactly what we wanted to bring with the label. During the years, Hüwels gradually found his place into the field of ambient with numerous releases and collaborations (Chihei Hatakeyama, Michel Banabila, Ian Hawgood...). While his sound definitely changed over the years - coming from a direct or transparent sound to his current more abstract sound design - his work still evokes the same familiar sentiments. For a label, this is one of the most interesting movements you can see in the artistic practice of the people you’re working with and ‘Décalages’ perfectly illustrates this. To coincidence this release, we made a second edition of his Dauw-debut 'If you remember me then I don't care if everyone else forgets', released 9 years ago.

With Scream If You Don’t Exist, Richie Culver metamorphoses from outsider musician to underground fixture, feeling his way from the fringes towards a growing community of musicians that have gravitated towards his singular sound world. Building upon the stark catharsis of his previous dispatches, on his sophomore album the artist draws from grimdark drone, industrial noise, experimental hip-hop and UK rave to map out a space for himself, caught between genre and discipline. While on his debut, I Was Born By The Sea, Culver took a last glimpse back at his grey, salt-flecked past while struggling towards somewhere brighter, here, he documents the process of finding fresh waters, parsing through the complexity of inhabiting a more open and optimistic place while contending with the weight of his resolve, staring hard won self-acceptance in the face. The album’s title speaks to this creative and emotional work, serving both as the foundational paradox from which the artist’s new discordant sound emerges and as a call to action, a defiant cry in the face of existential angst.

Part of this process involves visiting familiar territory with renewed focus. Macabre opener ‘Hottest Day Of The Year’ signals an unpleasant memory with crow caw, queasy, gas leak ambience and dental drill whir as Culver recalls a life lived in nihilism: “Everything is just something that happened / Reductionism, muscles spasms, a mother’s first contraction.” Yet, on Scream If You Don’t Exist, Culver’s irresistible formula for ragged machine poetry is shot through with palpable urgency. No longer listless and despairing, he finds new intricacies for these compositions, tracing a stark interplay between crushing bass excavations and penetrating vocal clarity, a contrast picked out in the delicate threads of rhythmic pulse suggesting themselves in the blunt pressure and skittering creep of ‘Weakness’, on which Culver offers up vulnerability as a tentative solution to self-described emotional constipation: “Please do / Do take my kindness for weakness / For I am weak / And that is ok.” The amniotic soundscape of ‘YOLO (then u die)’ gives way to depth charge drone and unnerving machinic improvisations, like a noise show heard from deep in the Mariana trench, while on ‘Underground Flower’ the low-end fog lifts to reveal a brighter, colder scene. “Love me for who I could be / Not who I am,” he pleads, tending gently to his own tenacious bud.

Scream If You Don’t Exist gives us a glimpse of this flower in bloom. On the album’s cursed self-help tape title track stuttering loops of off-kilter keys and childlike repetition make light of the very real risk of disappearing all-together, a nervous breakdown rendered as a malfunctioning nursery rhyme. Paranoiac anthem ‘Say 4 Sure’ introduces bit-crushed boom-bap stomp, as though hammered out on a water-logged Game Boy, swarms of loose-wire noise sparking up against guttural grunts and ragged exhalations, while ‘On The Top’ enacts a seance for the hardcore spirit, with loops of rave piano and hiccuping vocal chops pirouetting through knackered samples, air raid sirens and the ghostly crash of breakbeat cymbals. As though in response to the solitary nature of much of his musical exploration, this time, the artist invites other voices into the world of Scream If You Don’t Exist. On ‘Swollen’, the unflinching, brimstone prophecy of Billy Woods sounds clear through an expanse of spirallic bass, preaching the same frayed gospel as Culver when he issues the quietly devastating contemporary diagnosis: “Computer broke but it still works for now / That’s the best you can say for most of us anyhow,” while another fearless correspondent from the fringes, Moor Mother, brings earthbound heft to the ambient drift and obliterating barrage of ‘Restaurants,’ teasing out meaning with elongated intonation and pitch-shifted intensity.

It’s during the album’s most meditative moments that we might recognise this space Culver has found for himself for what it really is. ‘OMG They’re Gone’ follows a chopped and slowed monologue from Culver’s wife, who works as a death doula, reflecting on her own experiences with grief and the reality of living within a culture both terrified and ignorant of the process. Floating over glistening ebb, etherised croons and luminous chimes, her words stand as a prescient reminder of the power of ephemerality. Just as Culver flourishes in imperfection, here we can find enormous strength in transcience. But it’s with ‘Just Jump In,’ which unfurls like a buoyant counterpart to the sparkling oil rigs of ‘I was born by the sea’, that Culver illuminates the hopeful waters we realise we’ve been making our steady way towards. “I know now / That you loved me,” he admits, a revelation a lifetime in the making. Through the rawest reflection Culver has found a way forward, driven by an optimism drawn from a resolve to be better, to love and be loved, an admission to weakness and the discovery of a new kind of strength. “Don’t test the water,” he reassures us and himself, “just jump in.”

Scream If You Don’t Exist will be released in November 2023 by Participant, on limited edition vinyl, and digital download . The release will be accompanied by a series of films directed by Mau Morgo, Josiane M.H Pozi, William Markarian-Martin, Simon Bus, and Bruxism.

“F(r)icciones is a complicated piece of miscellaneous works. A set of experiments in preparation for a gig at a noise convention in Orozco that never happened, an 18 women choir piece composed for a soundtrack to a documentary that doesn’t have a release date yet or trying to create a drone piece by accumulating guitar noise. The result? Burnt psychedelic blues with electronics ”

Partly an official soundtrack to “Durangas”, a documentary focusing on women and heritage, discussing civil war, education, sex or violence in the town of Durango, Basque Country. And partly a non musical accompaniment to an imaginary movie, F(r)icciones is the new album by A. Maiah.

Self described as Guitarist / Composer / Improviser of Idiomatic Noise / Microtonal Blues Ist or Psychedelic Populist, Asier has been self-releasing albums for nearly a decade now, focusing mostly on prepared guitar or improvised noise

Durangas was composed by Asier, arranged/conducted by Garazi Navas, performed by an 18 women choir from Durango and recorded live at San Agustin Cultural Centre. All of the other tracks were recorded between 2021-2022 in between portable recorders in Burgos or at Estudios Nomadas.

'Light Years', released a few days before Kate's 50th birthday, is Rusby's 7th Christmas record and features vocals by Alison Krauss and Ron Block Her love of Christmas music and upbringing on a rich tradition of 'local carols' is no secret to her many fans.' Light Years', a lyric in one of the albums songs, is full of Rusby-fied versions of carols and well-known songs which depict in her own words, "Joyful memories of music, family, community, warmth and happiness - and a little wine!" The album follows in the footsteps sonically of her last two releases, 'Hand Me Down' 2020 and '30: Happy Returns' 2023. Experimental sounds, moogs, layered banjos, lush electric guitars, low subs, soaring acoustics, wonderful effects and of course, her own spellbinding vocals. There are songs old and new on this record. Many standout tracks include Rusby's self-penned 'Glorious', a song about a lost and broken angel and one which takes the listener on a thrilling journey through snow laden trees and a warm glow of the evening sun illuminating only half of the world. Her own version of 'Rockin Around the Christmas Tree & Sleigh Ride,' combined, make a simply wonderful version that will have you spilling your nutmeg all over the dancefloor! 'The Moon Shines Bright' features the gorgeous harmony vocals of Alison Krauss and Ron Block amongst a gorgeous soundscape of guitars and 'The Most Wonderful Time Of The Year' is a true example of how Rusby can take a classic and stunningly make it her own. No Rusby Christmas album would be complete without a little humour and 'Nothin For Christmas' and Chris Sugden's (aka Sid Kipper) parody 'Arrest These Merry Gentlemen' will not fail to make any 'bah humbugger' chuckle. Another superb release from Kate Rusby & Crew. John Lewis, look no further for your Christmas advert music...

Powerhouse R&B/Soul vocalist and Canadian Idol finalist. Gary Beals, is thrilled to be releasing his new album, The Melody Within. The Melody within is a musical journey that unfolds across two sides, much like a story that reveals new layers with each turn. The album is more than just a collection of songs; it's an emotional guide that beckons us to explore the depths of our own feelings and explores navigating emotions, self discovery, and nostalgia through soulful melodies. "This album serves as the aftermath to my previous album, "Bleed My Truth". It's a continuation of my musical journey, a fusion of soulful melodies and diverse influences that mirror both my personal and artistic evolution," said Gary Beals. "Each song is a chapter, a piece of my heart and soul, inviting listeners into my world of emotions, experiences and connection. It uncovers the melody that resides within. The anticipation is building as I look forward to sharing this collection of new music, and I hope it resonates deeply, offering a meaningful and memorable musical experience enriched with a multitude of emotions." With this new body of work, Gary had the opportunity to work with two talented primary producers,Beatchild (Drake, Justin Nozuka, Glen Lewis) and Myles "Losh'' Schwartz (Allan Rayman, Tobi, The Game, Pretty Lights). Additional production credits on the album include, Chris Guirguis, Frizzy Astro (Raz Fresco, Daniel Son), Jordan "Tempo" Farmer, Kobebeats (Rodwave, Kcamp, Sevyn),Sid Aakowa, Ty Danelley (Popcaan, Tory Lanez, Pressa) and Warren Williams, who all helped to shape the makings of the album while maintaining a consistent synergy. Side A of the album draws inspiration from the likes of Al Green, Aretha Franklin, Otis Redding, Marvin Gaye, and James Brown, and pays homage to artists who have played an integral part in shaping Gary's musical roots. This side includes Gary's previously released singles, "Good People, Good Vibes" and "All of Me," and the album's title track "The Melody Within," that commends the process of self-discovery and introspection. Also included is the album's 5th single, "Self Revolution," which will be released on October 27th along with the official music video. On Side B, you'll encounter a fusion of R&B and pop elements while still staying true to the album's soulful essence. Included on this side, is Gary's third single "I Like That," featuring JRDN and KAYO ,and the new single "How Do I Say (I Love You)," released September 22nd. "How Do I Say (I Love You)" dives into the inner conflict of conveying affection, showing vulnerability, and the bravery needed to expose one's heart to someone else. About Gary Beals: Two decades ago, Gary embarked on his musical journey when he, a small-town kid from Nova Scotia (now calling Toronto home), made a remarkable entrance onto the national stage as a part of Canada's inaugural season of Canadian Idol. This month marks the 20th anniversary of the finale where Gary was crowned as the "runner up" on the show. The experience ignited a transformative period of self-reflection and discovery that propelled Gary toward personal growth, shaping his life and musical career in lasting ways.

Fast forward through three albums and twenty years, Gary's work and talent have made a remarkable impact and received widespread critical acclaim. Among his accomplishments are debuting in the top 10 of the Canadian sales chart, being nominated for a JUNO Award for "Best R&B/Soul Recording," winning an East Coast Music Award and seven African Nova Scotia Music Awards, as well as scoring nominations for an Urban Music Award and a Canadian Radio Music Award. These accomplishments led to his home province's Premier officially designating November 22nd as Gary Beals Day in acknowledgment of his achievements.

With his return, Gary is poised to make a positive impact on the ever-expanding global community as he prepares to release his new album The Melody Within. The album will stand as a tribute to the strength that resides within all of us and a reminder that true fulfillment comes not just from achieving goals, but from discovering the intricate beauty that lies within our own hearts and souls.

Craig Charles is a big supporter of Gary Beals and spun his single 'All Of Me' for three weeks in a row on his Funk and Soul Show on BBC Radio Six

Trym Søvdsnes is a relative newcomer to the scene, but he’s been putting in work in and around Bergen for years, scoring a residency at the infamous Café Opera, where he snagged the attention of local house legend Bjørn Torske. Soon, the duo were DJing, producing and performing together, eventually running the monthly radio show Pigs in Space where they would go head-to-head for six hours at a time, plumbing the depths of their immense record collections.

It’s this lust for bottom-of-the-crate oddities that guides Søvdsnes’ self-titled debut album, a concoction of dub techno, hard-swung house and percussive club music that positions itself a few paces away from any conventional modes. Basically, a perfect fit for Le Jazz Non.

‘Gølles Dans’ opens with a filtered acid bassline and bone dry kick that’s like some psychedelic, slower variant of Basic Channel’s ‘Enforcement’, slicing into the groove with gristly acoustic percussion that drags it up from the basement. The producer leans into asymmetry on ‘Døgnrytmen’, wrangling 303 squelches with booming Berghain kicks and tight snares, enhancing the psychedelic potential by layering ticking percussion into loopy spirals. If you’ve ever caught an extended Dozzy set, this is the kind of ruff-edged gear he would likely play an hour before sunrise. ‘Ordnings Mix’ is weirder still, slopping chirpy bleep/rave stabs into a jazzy hybrid that sounds like a bossa meltdown.

Søvdsnes saves his most cosmic mettle for last, on ‘Cowboy Acid (Solstikk Dub)’ he strips the kickdrum to a faint knock, before building up into a sort of screwed Metro Area mirrorball that sounds brilliantly out of time.

Compiling the follow-up to a very successful first album is always a tricky task, but just 12 months since the release of volume one in the 'With Love' series, miche has excelled himself once again with another glorious, deep dive into the world of rare soul. 15 tracks of independently released music, created by magnificent artists with stories to tell and primed for rediscovery.

The ambition to celebrate under-the-radar artists has remained, but instead of a facsimile of volume one, what we have here is a selection shaped by life changes. Volume two is for the dancers; still soulful, still ultra-rare and slept-on records from the USA, Chile, Brazil and beyond, but the dynamics of the collection have shifted slightly. It represents a move from being immersed in a week in week out environment of beautiful, soulful music in a cosy, dimly lit hi-fi bar to playing livelier, more energetic, dancefloor-focused music in nightclubs. This volume will get you on your feet, make you move and unleash whatever it is that makes you get down.

One of the jewels in the crown of this compilation is a joyous, anthemic gospel version of Stevie Wonder's 'As' by The Family Tree (a project produced by the fantastic Julius Brockington). We are also treated to a rare and sought-after Pennsylvanian funk / AOR bomb by Maxwell, a stunning modern soul tune 'High On You' by Freedom, and self-released Brazilian 45s by Banda 22 and Zé Da Lata. P.J. City's 'Straight Forward (Non-Stop)' is gospel-disco perfection, and we also have 'Dame Solamente Amor’, a sublime, soul beauty from Chile by Rogers Mitchell. Many of these artists featured in this compilation aren't household names, but they deserve their moment to shine, to be heard, loved and appreciated for their artistry.

As Miche says it, “I hope this compilation helps in some way to keep this glorious music alive and play a part in connecting generations of music lovers from the worldwide soul family. As always, it has been made ‘With Love’.”

Aiko T. is a concept, an entity, a ghost that appears only through her own music.

"I’ve released various materials over the years under other names, Aiko has been materialized in 2022 through self-published music and with IIKKI it's the first official release that I am very proud of. Despite this, Aiko has been publishing in other forms since 2020, but always within the sphere of ambient music.

This album was born as a long-lasting sound continuum. It was then cut, stitched together and reassembled to give shape and restore unity from the fragments, in order to have an album that shows its completeness halfway between the titles and the compositions themselves. Contrary to what it may seem, it is not born from a concept and does not want to be. The titles were chosen in a poetic, almost naïve way, the sounds of these creatures led me to believe that they could be divided into different distinct phases of the day. What I want to communicate with the titles is just what came to mind in a moment of reflection, a very simple thing, that sometimes time passes too quickly, and the moments we spend with our loved ones could always be better, it could have been a beautiful morning, afternoon, evening or night." - Aiko Takahashi

Music crafted by Aiko Takahashi with laptop and various music devices, analogue and otherwise

Repress!

Little Dragon return with a spectacular second album offering in August, a pulsating electro pop epic that Prince would be proud of (only fronted by a beautiful Swedish lady with a sultry voice). A bold and surprising side/two step onwards from their self titled debut, released two years ago to great acclaim especially among specialist circles. Machine Dreams, with its nagging hooks and gloriously infectious tunes, should finally see the band break out into the mainstream.

Recorded in their home city of Gothenburg, Machine Dreams is a gigantic leap on from previous material but still maintains a distinct sound that can only be Little Dragon. Be it Yukimi s warmly inviting vocals, Erik s dextrous drumming, the vast array of synths and bleeps created by Hakan or Frederik s bubbling bass lines, together they don t sound like anything else around right now. The move towards a more electronic sound was a conscious one, as Yukimi explains; The title Machine Dreams seems obvious. These days, humans seem more and more like machines, and as technology evolves, machines feel more human and it becomes fuzzy and beautiful and science fiction-ish. We feel dependent on our machines to create and live, and their sounds reflect us .

Album opener A New breaks us in gently with a single whirring note on the synthesiser, an almost alien sound that gradually morphs into a slow, thumping bassline. Yukimi s vocals flow alongside Hakan s assortment of sound effects interspersed with militaristic drums breaks. A magical opener that sets the scene and seems to sink into itself, taking us with it, until the pace is swiftly ratcheted skywards with Looking Glass , the massive snare, crisp driving beat and experimental synths revealing the band s current penchant for the 80 s. This influence continues apace into stand out track My Step . Utilising a solid drumbeat that nestles next to jagged and playful synthlines, the track breaks down into motorik propulsion with a scuzzy techno bassline that Yukimi works with ease.

Upcoming single Feather finds Yukimi s voice at its most detached and blaze, seemingly nonchalant yet magnificently seductive. Backed by Hakan s keyboard atmospherics, the song creates a soundscape reminiscent of Tears For Fears more reflective moods. Gradually layering more vocals, synths, echoes and reverb, it builds to a quietly psychedelic, dreamy cosmic swirl. Runabout brings forth a mini Airto style percussive breakdown at the tail end of yet another Little Dragon pop gem. Swimming bursts forth into vision with stabbing keys and reflective bass alongside yet another wonderful vocal performance from Yukimi who sings of young love and now so many years have past, my memories as clear as glass . The song is over as quickly as it started, flowing into the next miniature masterpiece in the form of Blinking Pigs

The album closes with the stunning track Fortune , which has already caught the attention of none other than DJ Shadow. It s no wonder really, as the textured melodies blend with the drifting percussion, creating a blissful sonic mood. With a smattering of drums and bass and the magic of Yukimi s voice and Hakan s electronic dynamics floating on top, it s the perfect track to end this fascinating journey through Little Dragon s brave new world.

With disparate influences from Depeche Mode to Prince, LCD Soundsystem to James Holden, Dancehall to R&B, Jazz and Soul, Little Dragon take their place among artists who straddle many genres, yet somehow create their own and in doing so create sounds that make time stop (Yukimi). Futuristic yet somehow retro, Machine Dreams sees Little Dragon achieve something timeless; that elusive pop classic.

‘Life & Love’ is the third album from Skinshape (with ‘Filoxiny’ being his fourth). Written, Recorded and Produced by Will Dorey at the Arch Studio, London, and in his bedroom. Great melting pot of styles and tunes, D.I.Y. Funk Soul Jazz. Recommended if you're into Khruangbin. Skinshape is the project of British musician William Dorey. The sound has roots in many genres but in particular 1960s-0s Funk, Soul, Reggae, Psychedelic Rock, Afrobeat and Folk. Skinshape grew out of a love for old music and the way it sounded. Initially Dorey experimented with samples (especially drum breaks) to create instrumental Hip-Hop/Trip-Hop tracks but then later started to play around with tape machines as a means to create his own 'samples'. This process gave birth to Skinshape with all elements being recorded by Dorey since the first self-titled album released in 2014. Aside from the Skinshape project Dorey was bassist for the band Palace from 2014-2017 and runs a reggae label called Horus Records based in North London.

Piero Zuffi made this bizarre film set in the seedy underbelly of Off-Broadway productions, hippie communities, S&M bars and bike gangs.

BLACK VINYL PRESSING OF 500 COPIES WORLDWIDE.
The story follows a serial killer on the loose and an investigator looking
into an heiress’ kidnapping. With the help of editor Franco Arcalli, the
movie was reconfigured into an effective fever dream with a non-linear
structure.
Once more the music composed by maestro Piero Piccioni is better than the movie.
A wonderful kaleidoscope of psychedelic oddness favors the composer’s jazz roots and strong percussion work, but also features delightful bursts of source music as well as the self-contained brilliance of the occasional set pieces—including background scores for the experimental productions of the Off-Broadway world.
This highly addictive score, impossible to find on the original LP released by RCA in 1970 and reissued on vinyl only by South Korean label Beatball can finally benefit from a meticulous restoration from the original master tapes, thanks to the involvement of Piccioni’s family.
It’s exactly like buying a copy in 1970 without any compression and digital artifacts.

Khanate's self titled debut (2001) has all the pleasant ambiance of a plane crash site, a bleak urban waste of mangled and torn metal beams and hissed alarms. When Khanate first issued instructions to the void in 2001, the band was embraced as the next iteration of guitarist Stephen O'Malley's tube-cracking forays into amplifier variance; a fascinating further step of vocalist Alan Dubin and low-frequency shifter James Plotkin's space charts; and a warning for the crawling-pace hammers of Tim Wyskida's drums. But Khanate was not preaching of coming doom or offering emotional catharsis. The band was totally post-dread. The worst had already happened, and would continue to happen, over and over. The 5 songs on Khanate sound like an "orchestrated root canal" (Julian Cope).

Khanate's self titled debut (2001) has all the pleasant ambiance of a plane crash site, a bleak urban waste of mangled and torn metal beams and hissed alarms. When Khanate first issued instructions to the void in 2001, the band was embraced as the next iteration of guitarist Stephen O'Malley's tube-cracking forays into amplifier variance; a fascinating further step of vocalist Alan Dubin and low-frequency shifter James Plotkin's space charts; and a warning for the crawling-pace hammers of Tim Wyskida's drums. But Khanate was not preaching of coming doom or offering emotional catharsis. The band was totally post-dread. The worst had already happened, and would continue to happen, over and over. The 5 songs on Khanate sound like an "orchestrated root canal" (Julian Cope).

DINGGGDONGGGDINGGGzzzzzzz!!!!!!! In the newest record by the iconoclastic Brooklyn-born composer Charlemagne Palestine (b. 1947), find two mesmerizing works for carillon, the keyboard-controlled bell tower derived in the 16th century. On side A, a new piece recorded at the artist's studio in Belgium_a high-ceiling, stuffed-animal-packed paradise he calls Charleworld_among friends and "divinities," his name for the thousands of plush toys he's amassed since the '60s. On the flip side, Blank Forms Editions' very first and long out-of-print release appears on vinyl for the first time: a cathartic street recording of the minimalist composer's 2018 musical eulogy for his late friend Tony Conrad, performed on the bells of St. Thomas Episcopal Church where the two first met. Two mesmerizing "klanggdedangggebannggg" sessions in the Quasimodo of 53rd Street's unmistakable improvisatory style. Perhaps more than any of his contemporaries in the bustling, cross-disciplinary downtown New York arts scene of the '60s and '70s, Charlemagne Palestine has embodied the notion of the artist as playful polymath, testing and transcending nearly every creative form imaginable in his more than six-decade career. Originally trained in Jewish sacred singing to be a cantor, he began his artistic life as a musician, studying piano and accordion, accompanying figures like Tiny Tim and Allen Ginsburg on percussion, using early synthesizers as an assistant to Alwin Nikolais, and eventually landing a long-running gig as the carillonneur at Midtown's St. Thomas Episocal. This libertine spirit of experimentation soon led to adventures in other aesthetic arenas: making kinetic light sculptures with Len Lye, devising choreographed performances with Simone Forti, and producing over a dozen visceral videotapes with the Castelli Gallery. In the '70s, he was particularly prominent on the burgeoning loft movement, becoming well-known for his sparse, intense, and exacting long-form piano concerts, that seemed to bend the very nature of time and space. Beginning in the '80s, he spent decades in self-imposed exile from the new music scene, absconding to a palace in Europe and privately honing his hermetic sonic and visual practice, until his resurgence among record fanatics in the mid-'90s.