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Luigi Madonna is back on his record label Contempo and continues to showcase the darker and more underground side of his sound with the analogue grooves on this hypnotic release.

This four-track EP blends raw sound design with industrial percussion and modulating synth lines, to create dance floor focused cuts in the style that Luigi Madonna has previously championed via Contempo.

Previous releases on Contempo have also featured tracks and remixes from the likes of JSPR, Alarico, Lobster and Marc Faenger.

"Yakamoz" opens the release with its rumbling bassline tense synths and thrashing hi-hats, before the ominous synth stabs, trippy vocals and brutal percussion of "Hydratonic" take control. "Slow Sigh" has a stripped-back style with murky atmospheric, high-speed rhythms and sinister vocal tones. "Ikigai (Jam Edit)" is an experimental track that closes out the release with its breakbeat rhythms, heavy sub-bass and glitching synth lines.

Referred to as "one of Reggae's quietest superstars" Jackie Mitto aka "The Keyboard King" had a remarkable path in Reggae music, a protege of Sly Stone, he started his career as part of Studio One's in house recording band and later went on to work with artists such as Bob Marley, UB40, Barry White, Peter Tosh and Oscar Peterson. This album was the result of a rare occasion of being on tour in Africa and establishing musical connections with musicians from Ghana, recorded in Accra and mixed in London. Predominantly instrumental, this album is essential to any dub conscientious record collection, as it culminates the career of a Reggae legend whilst under new influences in West Africa resulting in an unmistakably characteristic modern dub sound. Re-issued on vinyl with remixes previously only availably on CD format.

Calibro 35 unleash the new OST for the second season of TV series BLANCA, to be released on limited edition LP on December 1st 2023.

Italian cinematic cult outfit CALIBRO 35 announces the release of the ORIGINAL SOUNDTRACK of the second season of BLANCA, the TV series produced by Lux Vide in collaboration with Rai Fiction, broadcast in prime time on Rai 1 starting from Thursday, October 5th 2023 and directed byJan Maria Michelini and Michele Soavi. The soundtrack will be released worldwide on limited edition, crystal clear LP next December 1st via Milan based label Record Kicks.

The new thrilling episodes of Blanca Season 2 follows the success of the first season, that was aired worldwide on Netflix, M6 France and Telecinco Spain. Accompanying the journey is once again the original music of CALIBRO 35 the Italian "cult" cinematic combo active for over 15 years and with a fan base that includes superstars such as Dr.Dre, Jay-z and Damon Albarn. Made up of 20 tracks in total, the OST was entirely composed by CALIBRO 35 that created the sound universe of BLANCA: an impressive and choral work, which has engaged all the components of the band for a long time, giving the them the opportunity to develop a very vast soundscape.

"It's the first time that we deal with the creation of a 'season 2' and we discovered that the creative process can be very different" Calibro 35 says. "In the first season, we had to build from scratch a sound and musical world consistent with the idea that Jan had (Michielini, director and showrunner of the series); this time, however, we had to develop that already existing world further, in order to describe the new stories and new different characters of the second season. There had to be undiscovered musical territories, that forced us to step out of our comfort zone." The result is that on the 20 tracks of the ost, the heavy dose of Calibro's signature funk grooves of tracks such as "Badanti, "Carignano", "Cambio di Stagione" or "Sampierdarena" is mixed with more moody and soulful tunes, world music, opera and atmospheres à la John Carpenter. Amongst the album's highlights worth definitely a mention the Opening and End titles that feature the voices of Arya, MEI and Tahnee Rodriguez. Essential contribution to the recordings were made by Francesca Biliotti - mezzo soprano of the Monteverdi Choir, Valeria Sturba - exceptional multi-instrumentalist of the avant-garde music group OoopopoiooO, Rahma Hafsi and Elisa Zoot.

Described by Rolling Stone as "the most fascinating, retro-maniac and genuine thing that has happened to Italy in the past few years", Milan-based Calibro 35 enjoy a worldwide reputation as one of the coolest bands around. Active since 2007, during their long career they were sampled by Dr. Dre on Compton ("One Shot One Kill" feat. Snoop Dogg), Jay Z ("Picasso Baby"), The Child of Lov & Damon Albarn ("One Day") and Demigodz ("The Summer Of Sam"). They played major venues and festivals all over Europe and as unique musicians they collaborated with, amongst others, PJ Harvey, Mike Patton, John Parish, Stewart Copeland and Rokia Traoré. The BLANCA OST is the latest of many activities concerning cinema for CALIBRO 35: the band has been completely immersed in the world of soundtracks since the very beginning and they have recently worked on other productions as well, both as Calibro and individually. Last June, the band released their 8th studio album, NOUVELLES AVENTURES, recorded in Naples at Auditorium Novecento. With the new LP the group has made full use of their knowledge and resources, refined and enriched over the years, back to making "Calibro's music": a unique mix of funk, progressive rock, alternative jazz and wide-spectrum cinematic music the public has known them for in fifteen years of career.

Tammo Hesselink debuts on Berlin’s Midgar with “Work Work Work”, showcasing 5 techno cuts in his distinct stripped-down style. He expertly links the dots within mesmerizing drum grooves, tied together by subtle imperfections. Wonky rhythms layered with loads of sub and razor sharp twitches could be seen as a blueprint for Hesselink’s productions. Excellent percussive club tools for playful DJ sets, where tools as we know them could be flat and loopy, in these jams there’s a whole lot more to explore.

House of Harm are proud to announce the forthcoming release of their new album Playground, out December 1st, 2023. The new record builds and expands upon the three-piece’s enthralling shadow-pop sound, a mix of midnight atmospherics, 90s era jangle pop, and contagious synth drenched hooks that further elevate the transcendent vocals of lead singer Michael Rocheford. Rounded out by Cooper Leardi (guitar / synths) and Tyler Kershaw (guitar / synth), House of Harm have amassed an impressive following as something of a best kept secret among their growing fanbase, leading to sold out shows on both coasts by the power of word of mouth alone. The band members have been drawn to music for as long as any of them can remember, and the drive to be around like-minded artists and make their own noise drew them all to Boston after high school. There they all quickly enmeshed themselves, playing in other bands before meeting each other. Ever since, House of Harm have been quietly making a name for themselves among music fans with darker pop persuasions via a steady stream of releases in single, ep and album form. That attention to detail and workmanlike approach at the expense of chasing instant gratification seems to be paying dividends after years of steady effort. The journey of their new album Playground saw House of Harm stay true to that ethos. The band painstakingly narrowed the record down to an efficient 10 tracks that they felt made the most sense, both standing on their own as well as fitting into an LP that built a cohesive world for the listener to get lost in. The album’s name also reflects the experimentation and happy accidents that came about during the writing and recording process. On “The Face of Grace” they set out to explore different dynamics by writing a song entirely without drums, but couldn't help themselves from putting emphasis on the song’s 6/8 waltz time signature. “Two Kinds” is another first for House Of Harm in that it’s predominantly driven by acoustic guitar. That aforementioned vulnerability shows up in other areas of the songwriting process as well with “Two Kinds”, one of their most revealing songs to date from a lyrical standpoint, written from a place of reflection and weakness and tackling feelings uneasy to be put on display for public consumption. Taken as a whole, the end result is an album representing a collection of the band’s most raw and expressive songs yet.

Nearly 20 years since his first official release, Fanu's output keeps on reaching new heights. Hip hop releases under the FatGyver alias and recent excursions into deep house underline his versatility while last year's Legacy EP on Metalheadz was another showcase of his unique & timeless approach to drum & bass.

Berlin-based artist Avilynn fuses electro, breaks, rave and IDM on modular driven '6' EP for her own Taisha Records this October.

Avilynn has been slowly unveiling releases via her fledgling Taisha imprint, showcasing her unique sound which encapsulates a variety of influences, always laced with a dynamic feel, sonic hypnotism and gritty drive. Following on from 2021's acclaimed 'Five Million Sunsets', Avilynn returns to Taisha Records with her new '6' EP. Blending sonic experiences from the Berlin cityscape and coupling them with provocative and sophisticated instrumentation.

'Air and Bubbles' leads the release and lays down cinematic strings, tension building atmospherics, a vacillating rhythmic groove and murky bass grooves. '66 33'48.8' follows next, coordinates possibly, a hidden destination, a journey complete. This one sees Avilynn shift focus towards textural soundscapes layered with ethereal, billowing voices atop intricate off-kilter drums and swirling synth flutters.

Title-cut '6' then opens the flip-side, embracing a brighter aesthetic with cosseting pads and resonant bubbling synths delicately intertwined with a winding low-end groove and a combination of electronic and acoustic drums to create the composition's bumpy
breaks. 'Fobias' then rounds out the EP, edging back into darker realms bringing crunchy saturated bass stabs and shuffled percussion into the forefront while sweeping strings, intricate melodies and voice-like textures unfurl as the composition progresses.

"Detroit Stories" is the name of this cool social project happening in Motorcity, USA, aka Detroit. It's a rad way to capture and show off the history and present of the city and its peeps. They're doing it by interviewing OG residents and immigrants from way back, the ones who lived through all the ups and downs of the Motor City. You've got stories of good times, hard work, opportunities, but also struggles, violence, and social movements that shaped Detroit's rise and slow fall. This city's always had a lot to offer in terms of music, culture, and beyond.

And guess what? DJ and producer Luca Fronza gets in on the action, finding some of those interview podcasts. He's turning their stories, the vocals, and speeches into some killer beats, with the distinctive motorcity raw house touch that we absolutely love here at Flexi. And to top it off, you've got a remix by the master himself, Prins Thomas! It's gonna be lit!
All tracks (except B2) produced and composed by Luca Fronza Remix of “Gipsy” is by Prins Thomas

After a stellar release on Saoirse's label trUst—which caught the attention of DJs like Ben UFO, rRoxymore and dBridge—Ryan Aitchison aka Mella Dee is back on the dials for another outing of quality tech ‘aus fodder.

Rug Cutters Vol. 1 kicks off a slew of upcoming dancefloor weapons from the Warehouse Music boss. Visually underlined by his own original artworks, the EP shows off Mella Dee’s signature flair for whipping up raw, no-nonsense ingredients into irresistibly infectious grooves.

Vol. 1 starts strong with ‘Cutting Snakes (Keep on Moving)’, a track that screams instant classic with its shuffling beat and fat, sassy synthline. A2 track ‘Bumps (You Say)’ dives deep into those bassbin vibrations—it’s big, rude, and dead set on shaking up even the swampiest of dancefloors. Together, these cuts are not messing around.

On the flip, ‘Cutters (They Don't Get It)’ plays with the more futuristic, percussive end of the techno continuum. Drum breaks slither over each other, while a minimal vocal and bass hook locks everything down. Finally, ‘Pay No Mind (Who Am I)’ pulls the EP back to euphoria. This one will have the club cruising to its cocktail of flirty chord stabs and soulful house vocals—you’ll never want to go home.

Luckily, it won’t be long before we get one more tune from Ryan Aitchison—with plenty on the horizon, ‘Rug Cutters Vol. 1’ is also a taste of what’s to come. Stay tuned!

Late Night Tales reissues the classic and hard-to-find
‘Late Night Tales: Jamiroquai’, compiled by none other
than Jay Kay himself. The 10th edition of what is now
a classic series of compilations was originally released
20 years ago, and hasn’t been available on vinyl for
over 15 years. A blissful collection of soul, disco, jazz,
rare groove, and funk, this collection is an electrifying
journey through the aural influences of one of the UK’s
most seminal jazz bands.
Jay Kay showcases a wealth and breadth of inspiration
that wouldn’t be amiss on the late-night dancefloors
of the Loft (or Giant Steps, for that matter). From The
Pointer Sisters’ uplifting and soulful ‘Happiness’ and
jazz funk legend Johnny ‘Smith’ Hammond’s ‘Fantasy’
to the anthemic ‘Stay Free’ by Ashford & Simpson and
mellifluous ‘Music Of The Earth' by Patrice Rushen,
these two discs form a rite of passage into the creative
mind of a true musical legend.

12 original festive songs, characterised by Johnson’s characteristic songwriting excellence, ranging in tone from the sardonic to the sentimental, featuring traditional seasonal conventions (50s jazz, Father Christmas, mistletoe, sprouts etc) performed by The Xmas Irregulars: Sian Allen – vocals, trumpet, saxophone // John Forrester – vocals, double bass // Robb Johnson – vocals, guitar, tuned percussion // Fae Simon - vocals // Roger Stevens – vocal, piano with Arvin Johnson- drums, Saskia Tomkins – violin & viola // Recorded by Ali Gavan, Brighton Road Studios. Robb Johnson-Brief biography: Robb’s widely recognised as one of the UK’s finest songwriters. “An English original”, (Robin Denselow, the Guardian) “one of our best singer-songwriters ever” (Mike Harding) “one of this country’s most important songwriters (no argument!)” (fROOTS). His work includes two highly acclaimed song suites, Gentle Men, & Ordinary Giants, -a “masterpiece” (fROOTS), “monumental” (FATEA). Last year Murder at the Grange premiered to enthusiastic, sold-out audiences at The Ropetackle in Shoreham & Chats Palace in Hackney – “a cracker of a show… a delightful extravaganza and a uniquely dark and different way to celebrate the winter season” was Folk Radio’s opinion. The Xmas Irregulars: Sian Allen – actor-musician, resident singer at Walthamstow Folk Club // John Forrester – singer & songwriter, bassist in various bands // Fae Simon - studied opera, hip-hop, soul & jazz recording artiste // Roger Stevens – award-winning children's poet & novelist // Arvin Johnson & Saskia Tomkins are both ex-Irregulars – Arvin now drums with Manchester-based band Tigers & Flies, & Saskia now lives & works -to great acclaim- in Canada

LP reissue of Collective Calls, the first duo LP from Evan Parker and percussionist Paul Lytton. Mythically alluded to as ‘An Improvised Urban Psychodrama In Eight Parts”, Collective Calls utilises electronics, pre-records and homemade instruments to wryly in/act self investigation. Having just recorded the cliff jumping Music Improvisation Company with Derek Bailey, Christine Jeffrey, Hugh Davies and Jamie Muir, Parker was at the point where he was thinking, ‘what’s the next thing?’ On Collective Calls, only the 5th release to appear on the newly minted Incus label, percussionist Paul Lytton arrives with an arsenal of sound making sources to push Parker into ever new territory. Recorded in the loft of The Standard Essenco Co on Southwark Street by Bob Woolford (Topography of the Lungs, AMM The Crypt), Collective Calls has more in common with noise or music concrete than with jazz; sitting comfortably alongside Italian messrs Gruppo di Improvvisazione Nuova Consonanza or the husband-wife duo of Anima Sound. According to Martin Davidson, it was a Folkways record that Lytton was obsessed with around the time of this release - Sounds of the Junkyard - its track titles like “Steel Saw Cutting Channel Iron in Two Places” working to give you a good idea of the atmosphere of Collective Calls. Paul Lytton had encountered the use of electronics in music in 1968 when he was invited to play drums on the recording of An Electric Storm by White Noise (along with David Vorhaus, Delia Derbyshire and Brian Hodgson). He had seen Hugh Davies using contact mics in the Music Improvisation Company, and soon set about assembling a Dexion frame akin to drummer John Stevens’, except that his own was armed with several single-coil electric guitar pickups, long wires and strings with connected foot-pedals to modulate pitch. Influenced as much by Stockhausen, Cage and David Tudor as he was by Max Roach and Milford Graves, Lytton’s percussion is abstract, expressionist and at times totally mutant. Sometimes rolling extremely fast, then screeching almost backwards over feedback, Lytton gives Parker room to play some of his weirdest work. Parker is listed as performing both saxophones, but also his own home made assemblages, including one dubbed the ‘Dopplerphone’ - a length of soft rubber tubing (activated by a saxophone mouthpiece and manipulated to alter the rate of airflow) attached to a longer length of clear plastic tubing (whirled around the head whilst being played) ending in a plastic funnel. Thickening the brew even more, Parker would also add a cassette recorder, on which he would play back collected sounds and previous recordings of the duo. Imagining the set up in a 70s loft, it’s an assemblage more akin to what today's free ears might see at a Sholto Dobie show, spread out on the floor of the Hundred Years Gallery, the shadow of Penultimate Press lurking in the corner. It’s a testament to Parker’s shape shifting sound - the ever present link to birdsong being at its most warped here - terrifically free and unfussy, wild and loose from any of the dogma that might come in later Brit-prov years

- A special 7 inch single presentation of the classic Donovan tracks (The Tinker and the Crab / Wear Your Love Like Heaven) taken from his seminal double album A Gift from a Flower to a Garden.

- This presentation, showcasing tracks from both album discs, is housed in a 'King's Road purple' coloured sleeve with gold foiling.

- Pressed on black vinyl and limited to 500 copies only.

Orphax & PONI (person of no importance) is a collaboration between the two Dutch brothers, Sietse (Orphax) and Tjeerd (PONI) van Erve. Since their early years they share a broad interest in music, fed mostly from their fathers’ record collection, ranging from early blues to Pink Floyd or Beethoven. But also listening to Belgian radio channel Studio Brussels (which during the late 80s and early 90s was a common listening close to the borders between The Netherlands and Belgium), and the late night Dutch radio inspired them in exploring the rough edges of underground music.

An exploration that gave them a common interest in indie and noise rock, but soon enough both followed their own path in music. Tjeerd moving more into underground guitar music, whilst Sietse developed a wider interest in (experimental) electronic and contemporary music. Both as listeners, but also exploring their own interests as musicians.

Now many years later these musical paths cross again in this album Inheritance (with a slight imagination, a translation of their last name van Erve). An album where Tjeerd brings in his dark and noisy lo-fi guitar songs and Sietse brings in his drones and electro-acoustic composition styles.

The album opens with its longest track, “As Received”. This combination results in a slow developing drone, with the intensity and tension of a well build-up post-rock track, that slowly unfolds Tjeerd his guitar layers and vocals. The title of the song refers to one of the PONI projects, where Tjeerd would send rough recordings to befriended musicians who than would rework those recordings without any restrictions which then would be released side by side with the original rough recordings. A project which actually sparked the idea of this collaboration (and that can still be listened to on PONI’s bandcamp-page).

On the flip side of the record, three shorter works give more room for regular song structures. In “Sunburns” this results in slowcore with subdued vocals, melancholic guitars and nasty synth and organ drones. When Tjeerd wrote the basis for the song, he actually had been listening to a lot of Codeine and Bedhead. One does not need much fantasy to recognize the influences of these bands.

“The Tears Are Necessary” is build up around various broken up piano tracks accompanied by moody drones to develop a fragile song.

The album closes with “Lockdown”, opening with silence as a moment of contemplation after the previous work but then quickly develops in a playful song where improvised play on piano, guitar and modular synthesizer create a lo-fi gem that clearly shows that both brothers still haven’t lost their love for Sentridoh or Guided By Voices.
All together resulting in an album that is an ode to the love of music, experiment, and creativity and a celebration of brotherhood.

Renowned Berlin-based music discovery platform COLORSxSTUDIOS will release their new vinyl compilation album, ‘MOVE:FEEL1’, just in time for the holidays.

The limited-edition double disc gatefold vinyl will feature 16 beloved A COLORS SHOW tracks, both recent and from the archive, including London-based rapper Kwengface’s ‘Freedom’ that was released earlier this year, critically-acclaimed Malian artist Fatoumata Diawara’s ‘Nterini’ from 2019, and Dominican-Italian star YEИDRY’s breakout 2020 hit ‘Nena’.

The album is truly international—it will feature songs sung in six different languages (including English, Swedish, German, Bambara, French, Vietnamese, and Spanish) and represent artists from 15 different countries across the world.

‘MOVE:FEEL1’ reflects and celebrates the launch of COLORS’ new ‘MOVE’ and ‘FEEL’ playlists that are now available across all DSPs. Updated monthly, these playlists will curate COLORS’ genre fluid output into cohesive listening experiences that cater for varying emotional states.

The songs on the ‘MOVE’ playlist—and hence on the ‘MOVE’ sides of the vinyl—are uptempo, bold, sexy and energetic, and aim to set the tone for daring and unapologetic enjoyment. In contrast, the tracks on the ‘FEEL’ playlist and discs are downtempo and emotive. They are for relaxation, and to help listeners contemplate their internal and external environments

Designed by COLORS’ in-house creative team, the vinyl cover is mirrored, meaning its appearance adapts depending on the light and colors it reflects. This was an important decision to ensure the cover represents all of the featured artists, who all performed their A COLORS SHOWS against different colored backdrops. The mirrored material also enables the audience to literally (and hopefully metaphorically) see themselves in the album.

Each side of the mirrored cover is adorned differently: while the “MOVE” side features embossed lines, stripes and slashes indicative of motion, the more introverted “FEEL” side is debossed with goosebump-like grooves. Even with their eyes closed, people will be able to feel which side of the album is which, adding an extra sensory layer to the listening experience.
MOVE:FEEL1’s design also prioritizes sustainability, using no single-use plastics for its packaging.

Their echelon was stark and meaningful. Within the stretch of 3 albums as well
as dense and triumphant live shows across the globe, they have not only spiked
the map of extreme metal music, but their unrelenting touring schedule an
unbridled will to push forward into new horizons has also earned them a
reception in all the extremes imaginable, be it worship or spite.
5 sonic vessels form the nucleus of 'Crepuscule Natura', and within its 41
minutes, the record easily creates a sonic and aesthetic bridge between the
band's debut, 'Devoid of Light' (2016), and their sophomore effort 'Cult of a Dying
Sun' (2018), only to forge onward upon the relentless path set forth with
'Djinn' (2020). Here, a more refined and muscular, yet no less melodic stronghold
awaits. On 'Crepuscule Natura', UADA provides all their memorable hooks,
tasteful leads, and riding blasts in their distinct style, balancing their epic surging
melodies with powerful spurts of aggression. Just like the band's smoke-heavy
shows, the momentum and emphasis of their craft always stays grandiose,
mythical, and triumphant - all the while making sure to birth a couple of new fan
favorites and soon-to-be staple live songs.
'Crepuscule Natura', once again graced by the artwork of legendary Kris Verwimp
and photography by Peter Beste, shows UADA on fire to unleash the marrow of
black heavy metal

Their echelon was stark and meaningful. Within the stretch of 3 albums as well
as dense and triumphant live shows across the globe, they have not only spiked
the map of extreme metal music, but their unrelenting touring schedule an
unbridled will to push forward into new horizons has also earned them a
reception in all the extremes imaginable, be it worship or spite.
5 sonic vessels form the nucleus of 'Crepuscule Natura', and within its 41
minutes, the record easily creates a sonic and aesthetic bridge between the
band's debut, 'Devoid of Light' (2016), and their sophomore effort 'Cult of a Dying
Sun' (2018), only to forge onward upon the relentless path set forth with
'Djinn' (2020). Here, a more refined and muscular, yet no less melodic stronghold
awaits. On 'Crepuscule Natura', UADA provides all their memorable hooks,
tasteful leads, and riding blasts in their distinct style, balancing their epic surging
melodies with powerful spurts of aggression. Just like the band's smoke-heavy
shows, the momentum and emphasis of their craft always stays grandiose,
mythical, and triumphant - all the while making sure to birth a couple of new fan
favorites and soon-to-be staple live songs.
'Crepuscule Natura', once again graced by the artwork of legendary Kris Verwimp
and photography by Peter Beste, shows UADA on fire to unleash the marrow of
black heavy metal

EVOLV is a visionary window into the mind of Dubfire, the journey of the ‘hybrid’ being and its evolution. Last year in October, an 11-track debut album was released on his long-standing SCI+TEC imprint. And now, just over a year later, Grammy award winning producer Dubfire returns to that sonic discourse, drafting in an impressive array of names to re-interpret the material, and accompanied by Dubfire's new audio-visual EVOLV show which picked up where the critically acclaimed electronic performance experience HYBRID had left off.

The eclectic package will include such notables as Glaskin, Arjun Vagale, Nadia Struiwigh, Mathimidori (dub alias of Mathias Kaden), Maral, Decka, Carl Craig, Truncate, Drumcell, Chris Liebing, Radio Slave and Luke Slater who have all given the original music in their own unique style.

With a career spanning over 3 decades, Dubfire has achieved global success as an artist with relentless drive, talent, and intuition. Pioneering commercial notoriety came initially as one half of the Grammy Award-winning (2001) duo Deep Dish, before embarking on a truly groundbreaking solo career in 2007. A career filled with timeless tracks include his early works, ‘RibCage’ (2007), ‘Emissions' (2007), ‘Roadkill’ (2007) and the highly acclaimed ‘Grindhouse’ (2009) remix from Radio Slave which led to a host of other notable projects over the years.
Collaborative work highlights include projects with Miss Kitten, Luke Slater, Flug, and Oliver Huntemann, as well as co-producing two songs on Underworld’s Barking album. A true artist, he has always been heavily invested in exploring performance technology, unveiled to wide praise with his HYBRID live show. A two-year world tour commenced in 2015 and was followed by his retrospective album, A Decade Of Dubfire (2017), a celebration of his immense output during the first 10 years of solo artist stardom. EVOLV is Dubfire’s debut solo artist album.

2023 Repress!
Since 2009’s critically acclaimed Machine Dreams they have not sat still, touring the globe and making some high profile friends along the way.
No one in their right mind would have expected the future of soul music to come from Gothenburg, Sweden. But there it is in the dreamy, rhythmical, shifting, moody rainbow creature that is Little Dragon. It is easy to see why some of the world’s top musical luminaries are falling over themselves to work with them. Stylishly seductive in their own right, their 2007 selftitled debut was filled with classy songwriting and cool production, with the stunning track ‘Twice’ getting played on Grey’s Anatomy and countless adverts since it’s release. Machine Dreams showed a bouncier side, as they flexed their dancing nous and came up with an album that would turn Prince’s head.
Damon Albarn invited them to collaborate on two tracks for last year’s Gorillaz record Plastic Beach, which became album highlights for the critics with Pitchfork describing the songs ‘Empire Ants’ and ‘To Binge’ as “two of the most arresting things here; they’re airy, elusive and amazingly beautiful”.
Little Dragon started 2011 with a headlining tour of the U.S. and a performance on Late Night with Jimmy Fallon in March, thanks to a recommendation from super-fan Questlove of The Roots. In May, the band appeared on the track ‘Just Don’t’ from Raphael Saadiq’s Stone Rollin’, a record some are already calling the album of the year. Then Big Boi and DJ Shadow called to invite the group to work on new music.

Big Thief's music, rooted in the songs of Adrianne Lenker, paints in vivid tones "the process of harnessing pain, loss, and love, while simultaneously letting go, looking into your own eyes through someone else's, and being okay with the inevitability of death," says Adrianne.

Masterpiece, Big Thief's debut album, is -lled with characters and visceral narratives, songs that pivot in the space of a few words. Adrianne's voice and guitar playing speak of rich emotional territory with grace and insight. In her words, the record tracks "the masterpiece of existence, which is always folding into itself, people attempting to connect, to both shake themselves awake and to shake o­ the numbness of certain points in their life. The interpretations might be impressionistic or surrealistic, but they're grounded in simple things.'

Adrianne met her longtime musical partner, guitarist and singer, Buck Meek, in Brooklyn a few years ago, and they quickly formed a creative bond tempered by the experience of traveling and performing for months on end in old dive bars, yards, barns, and basements together. They recorded a pair of duo albums (A-Sides and B-Sides), and Adrianne showcased her songs on a solo album, Hours Were The Birds.

Now, as a full rock and roll band, with Buck on guitar, Max Oleartchik on bass, and James Krivchenia on drums, they bring a steady wildness, giving the songs an even deeper layer of nostalgia. "These guys feel like a pack of wolves at my back," says Adrianne, "they make the songs howl and bark with a fierce tenderness that gives me courage."
After spending last July in an old house that they turned into a studio on Lake Champlain with producer Andrew Sarlo, the resulting collection soars on what Big Thief fan Sharon Van Etten calls "...a real journey, with intelligent stories and twist-and-turn melodies.

Repress!

Terumasa Hino is a representative Japanese trumpet player, his very special 4 records from the earlier catalogues are finally reissued for the very first time. Representing Ode to workman from J Jazz : Deep Modern Jazz From Japan 1969-1984 released on BBE, in his session with local N.Y. musicians, these 4 records are so important pieces in 1970's independent Jazz! After his return to Japan, Terumasa Hino formed a new band to go further. With Hideo Ichikawa, Kiyoshi Matsumoto, and Terumasa Hino, adding to Reggie Workman and Teruo Nakamura. Terumasa Hino’s sensitive and wild play with his one-horn is mind blowing. Gengon powerful and graceful sound and peace and love so deep and full of beauty, these two songs show Terumasa Hino’s fulfillment time at this moment.

2023 Repress

It was surely a matter of time before Leicester natives, darlings of the UKG revival Y U QT graced Time Is Now with a release. Cooper and Darryl Reid have been repping the Midlands' oft-forgotten 2-step and bassline scene since being picked up by Riz La Teef's South London Press in 2019; since dropping two EPs on Warehouse Rave and getting picked up for a remix by Conducta's award-winning Kiwi Rekords. For Time Is Now, the duo have put together five tracks of dynamic, cheeky garage that takes influence from the full breadth of the genre.

Studded with bangers, the EP kicks off surprisingly gently with "Be Real". Some spaced out keys float over the 2-step rhythm before hitting a sidewinding bassline and the pace picks up in "Keep On Lovin' Me" - a classic speed garage sound you can't help but move to. Cooper and Reed show their ruder side on the frenetic, brass infused "Look Good" and the deeper, Niche-style wobbling bassline on "Chopper". The record closes with "Hardly Keep it Inside"; icy synth and contorted trancey diva vocals make this track feel somehow larger than the others - you could imagine it going off in a cavernous club on a mountainous soundsystem, a swirling bassy number that sucks you in. This headsy release makes your feet want to move in the way only garage can, bringing out some of the best that the UK sound has to offer.

Temple, Bassey, MacLaine and now, Hurt; in a world of Shirleys, the name Sophia Ruby Katz has chosen for her music is perhaps prophetic as it captures her stunningly emotive vocal approach. And whilst Shirley Hurt might be the perfect nom de plume for the creative Toronto-based artist, it’s her self-titled debut album which positions her as protagonist of her own universe.

Traversing sonic landscapes, Shirley Hurt’s vocals ebb and flow like lyrical Ley lines tracking the contours of her own well-travelled map. By the age of 18, Hurt had travelled extensively, having lived in upwards of 20 different apartments and houses, as a result never really feeling “at home” anywhere. At this age was when Hurt found herself in New York, dipping her toes into various scenes and musical realms. The first and only place she ever felt at home, and a partial home-base for her, she travelled between Toronto and New York until the age of 26.When the project she was working on in New York reached a dead-end she returned West, moving in with musicians Harrison Forman (Hieronymus Harry, Zones) and Patrick Lefler (Roy, Possum). Being surrounded by their improvising at all hours, a new approach emerged. “Harrison is a virtuosic guitar player, and I hadn't picked up a guitar in any serious way since I was 16,” she says, “by osmosis I started playing again for fun.” Without agenda, the process grew organically from there.

Hurt and Forman decided to travel across the US and Canada in a trailer for half a year, with the entire album written in the final months of their trip. Hurt had been writing loose ideas here and there but felt blocked creatively. When the pair reached Berkley, they wound up house-sitting for a tuned-in friend who recommended she pray, in a very direct way, to remove the block. “I took her advice and to my surprise it worked. The album was conceptualized and finished within a couple of months.” Shapeshifting in tone and phrasing, Hurt’s music alchemizes the furthest corners of experimental indie folk, pop, and country into a singular sound with elegant unpredictability.

Whilst Shirley Hurt’s lyrical and structural ideas may have emerged on the road, the album was self-produced and recorded at Joseph Shabason (The War on Drugs)’s Aytche studio in Toronto’s West End. It was engineered by Nathan Vanderwielen and Chris Shannon (Bart), and Hurt enlisted collaborators Jason Bhattacharya, Nick Dourado, Patrick Lefler, and Harrison Forman to hone her vision. “I wasn’t sure what was going to happen with the songs until we returned to Toronto,” she recalls. “Joseph and I had been talking about working together after sending across some demos and Jason happened to recommend his studio at the exact same time, so everything came together naturally at that point.”

Whilst her most recent adventures may have seen Shirley Hurt bound for Texas as an official SXSW artist (hand-picked by Gorilla Vs Bear to perform at their own showcase), she currently resides in her native Canada, more specifically rural Ontario, close to friends and family, and is already working on her second album. The ties to lineage are interwoven in the fabric of the music. Hurt’s mother, artist Leala Hewak, instilled a lust for life and innate value of creativity in her from a young age as she explored the role of gallery owner, vintage jewellery show host, mid-century modern furniture expert, real estate agent, painter. Hurt’s father, a civil litigation lawyer and new-wave obsessed music lover with an extensive vinyl collection, introduced Hurt to a wide-range of artists at a young age such as Nina Hagen, Laurie Anderson, Tom Tom Club, and endless others.

In her video for ‘Problem Child’ Hurt’s grandmother walks her through a generationally revered pie-making process. One would be tempted to hear this, and other songs, as autobiographical. Yet, Hurt’s lyrics are rarely pulled from her relationships or personal history––at least not consciously. Rather, they arise from somewhere less tangible or defined. “Lyrics tend to come to me when I am doing non-musical things - washing dishes, brushing my dogs, walking to the grocery store. I have a lot of voice memos on my phone and half-filled notebooks and when I hear something, I have to stop what I'm doing to get the idea down. Usually it’s bits and pieces. It's rare a full song comes to me in one go, but it's great when they do, and those are often my favourites.”

Carving out a space of her own in an all-encompassing universe, Shirley Hurt is the introduction to a long artistic story, and if the journey so far is anything to go by, it will be stippled with evermore unpredictable chapters.

Introducing Biel Solsona: A Barcelona pianist with a vibrant musical background. His debut solo album, "· i · ", showcases a fusion of jazz, electronic, and cinematic sounds. Featuring Ferran Puertas on double bass and Eudald Font on drums, they weave a mesmerizing tapestry of original compositions where piano harmonies blend seamlessly with synthesizers and rhythmic beats, revealing a unique musical landscape. Their rendition of "Sunday Disco Dawn", an original composition of spanish disco dons Fundación Tony Manero, stands out, taking things into a more spacy direction. Experience the synergy of melodies, discover new textures, and immerse yourself in Biel Solsona's musical universe.

Remixes from Erika's second album "Anevite Void". "Anevite Void Remixed" showcases some of the many diverse influences on Erika's critically acclaimed second solo album "Anevite Void". Here her ambient album closer "Wandering Mountain" transforms into two faces of techno, first the monolithic hypnotic slab of sound from Mike Parker then to a powerful peak time melodic banger from Wata Igarashi. The other side features a totally different take on her influences, with Eris Drew delivering her "Body Rock Remix" fusing a number of styles to push the highlight of Erika's album to new heights, and Whodat discovering a deeper side to "Tomorrow's Fires". Pressed at Archer Records, Detroit.

More bangers from man like Cromby, this time with a slightly darker twist. Support from all the big guns, plays on BBC Radio 1, etc. Don't miss!

Next in the Potency series, Cromby shows his darker side with 3 cuts of his brand of House and Techno.

Some Songs Of A Dumb World

'The light at sunset is mysteriously pinkish.'

After Trip Trap, TRIP's sub-label GALAXIID releases the debut album by the Species Of Fishes duo. The record, originally released by the Dutch experimental label Korm Plastics in 1994, has influenced two generations of post-Soviet musicians. 'Some Songs of a Dumb World' is like a quest that you can either take up or appreciate as a mosaic of different music styles.

Igor Kolyadny and Vitaly Stern initially worked separately but later shared ideas during home sessions to build their own psychedelic world. They used a large number of cassette samples, including the voices of physicists, paranormal researchers, astronomers, and wildlife TV show hosts, combining them with pulsating rhythms inspired by various electronic music genres. The result, as the duo
described it in an Inverted Audio interview, is 'a sort of alienated, extraterrestrial, studying view on the sound component of human activity.'

For the very first time, the tracks from the debut album by Species Of Fishes are now available on vinyl. The double LP reissue with the refreshed version of the original artwork includes the original tracks, mixed between 1993 and 1994, but re-edited and remastered by Igor Kolyadny in 2021. Two tracks were released on the lesser-known follow-up 'Songs of a Dumb World Part 2', while "Salmon Hunting/Kaluga-Mars" is being released for the first time.

Following up his anthemic late-summer burner, Hope, Credit 00 returns to Pinkman to deliver the album Midnightlife Crisis. Hopping between genres whilst remaining resolutely coherent, the twelve-track double LP is a showcase of the Rat Life boss' many influences. From the driving, mesmeric techno of Music Is A Spiritual Thing to the sci-fi electro on Bouncing Bell and Love Warrior's downtempo, half-time shuffle, the collection of tracks is broad and varied yet simultaneously unified by belonging to the club. Whether it's warm-up material, peaktime rollers or afterhours sludge for tired legs and scrambled heads, there's something for every scenario on Midnightlife Crisis. And with recurring themes of melancholy and anxiety throughout, the album perhaps reflects that all too familiar period for every club enthusiast when the years are ticking by and the lights are coming on. "I just hope there's hope", sings the voice on the album's lead single, before reminding us that the dancefloor's sweet release is often the best remedy to these negative thoughts - "I see you shaking on the floor, that gives me hope, gives me hope."

Me Neither is a 29 track double album of instrumental guitar music. While juggling a number of other projects James Elkington began writing "music for which there was no purpose." It became a new way of working for him - waking up each morning and improvising and recording the first thing that came into his head. "The only rules I gave myself were that I should make most of the sounds with a guitar, changing the speed or processing the recordings afterwards to get the effect I was looking for." Before long he had an albums worth of material. About mid-way through the second album Elkington had a liberating thought: he was making his own version of library music "if you're writing library music, you don't have to know what it's for - that can be someone else's job."

Bryan Adams, der preisgekrönter Singer/Songwriter, hat sich als einer der besten Rocksänger und Showman etabliert. Seine Live-Konzerte und sein einzigartiger Stil aus Wohlfühl-Rock'n'Roll und Hit-Balladen sind weltweit bekannt.

Im Jahr 2022 trat er in der historischen Royal Albert Hall in London auf und präsentierte an drei Abenden seine klassischen Alben "Cuts Like A Knife, (Abend 1)" "Into The Fire" (Abend 2) und "Waking Up The Neighbours" (Abend 3). Diese bemerkenswerten Live-Auftritte werden nun in einem Vinyl- und CD-/Blu-Ray-Box-Set veröffentlicht.

Bryan Adams' Musik hat in über 40 Ländern Nummer-1-Status erreicht, und er ist Träger zahlreicher Auszeichnungen, darunter 3 Oscar-Nominierungen, 5 Golden-Globe-Nominierungen, einen Grammy Award und mehrere Juno Awards. Mit der Veröffentlichung dieser Live-Alben aus der Royal Albert Hall setzt er seine beeindruckende musikalische Reise fort.

Led by the legendary pianist and composer Chick Corea - the venerated 27-time Grammy winner and National Endowment for the Arts Jazz Master - The Elektric Band stormed onto the jazz scene in the mid-1980s, making an immediate and lasting impact on the genre. With their electrifying performances and innovative blend of jazz fusion, the group produced a series of albums that set the bar for excellence in contemporary jazz. Featuring a core lineup of virtuosic musicians - John Patitucci on bass, Dave Weckl on drums, Eric Marienthal on saxophone and Frank Gambale on guitar - the group created a dynamic and electrifying sound that came to define the jazz fusion style. Their collective musicianship was on full display on each album, as they seamlessly blended complex compositions with captivating improvisations. With each outing, the band explored new sonic territories, incorporating elements of funk, Latin and Afro music, and pop sensibilities. Their 5-album studio discography is a masterful tapestry of multi-layered music, showcasing their creativity, innovation, and musicianship. A restlessly creative, eternally youthful and uncommonly generous spirit, Armando Anthony “Chick” Corea left behind an incredibly rich legacy of recorded music when he passed away on February 9, 2021. The music of the Elektric Band continues to inspire and influence musicians to this day, cementing their legacy as one of the most important and iconic jazz fusion bands of all time

Elliott Fullam is a New Jersey artist who conjures the magic of when loneliness meets hope with his ghostly vocal melodies and gentle guitar tracks that bring a tranquil feeling to the listener. All of Elliott’s songs are recorded in his bedroom at home and mastered by the world-renowned Alan Douches of West West Side Music. His teenage goal was to release his first album by the time he turned 18 and he achieved that goal with the release of his debut album “What’s Wrong” on his 18th birthday of September 2, 2022. Elliott is also an actor, playing the co-starring role as Jonathan in the film Terrifier 2 which made a big smash at the box office as an uncut and unrated horror film. And as a dedicated music fan, Elliott has interviewed many musicians since the age of 9 including James Hetfield of Metallica, J Mascis, Ice-T, Jay Weinberg of Slipknot and many more. He always held his passion for music in high regard while finding inspiration in his favorites Elliott Smith, Duster, Mazzy Star, Broadcast, Radiohead and Nick Drake. With nothing else in his life plans aside from the pursuit of creating the best music he possibly could while sustaining his promising acting career, Elliott will continue to release music and play shows for as long as he exists on this planet in hopes that he may be a small part of the force for good in this trying world.

In March of 2022, Car Seat Headrest brought their “explosive” (Brooklyn Vegan) live show to Brooklyn Steel in New York in support of their 2020 LP ‘Making a Door Less Open.’ Across three back to back nights, the band played revved up versions of tracks spanning their extensive back catalog. On December 8th, CSH will release a collection of recordings from those performances which includes fan favorites “Beach Life-In-Death,” “Crows”, “Something Soon,” and “Drunk Drivers / Killer Whales.”

Tempo Records presents another new sublabel; TempoDubs; focussing on Techno, House and Electro. First up is the legendary Techno producer: Orlando Voorn; he's is one of the first European musicians to establish an active link with Detroit, and since the end of the 80s has proven himself as one of the most original and versatile producers of electronic music.

Dutch-Detroit producer Orlando Voorn numerous pseudonyms such as Basic Bastard, Frequency, Fix, Baruka, Balance and his Detroit Ignitor Records release as Tank with the cult Electro classic "Bite Before You Bark" track, which might be his most well known production so far.

On this release you will find the Orlando Voorn's re-fix of "Bite Before You Bark", a track with a well crafted stripped down "Detroit Electro" version. Furthermore this versatile release shows Orlando Voorn's diversity in genre's such as Electro, Techno and yes even a quality Drum and Bass / Jungle track called "So Far So Good".

This beautiful crafted LIMITED EDITION crystal clear vinyl 12" comes in a new designed Tempo Records "Logo" high quality "Kraft" outer sleeve + a white innersleeve.

All tracks mastered by Stuart Hawkes of Metropolis Mastering, London.

Svart Records proudly presents the reissue of Bleed From Within's 2018 album Era! Bleed From Within is a heavy metal band formed in 2005 at Glasgow, Scotland. Era, originally released in 2018 by Century Media, is the band's fourth studio album. This is the first reissue of it on vinyl and features the two bonus tracks that were originally only available on the first CD pressing. "Bleed From Within have breathed life into a kind of metal that has long become stagnant and they have done this on their own terms. No backing down and no comprising can be found within Era, they have shown here just what can be done if you really believe in the music you’re writing. One of the standout releases of the year." -Ghost Cult Magazine "If you are a fan of riffs then Era is definitely going to be an album for you. Every song is packed several great riffs. The influence of bands like LAMB OF GOD and PANTERA can certainly be heard but things never sound completely derivative." -Distorted Sound Magazine

Svart Records proudly presents the reissue of Bleed From Within's 2018 album Era! Bleed From Within is a heavy metal band formed in 2005 at Glasgow, Scotland. Era, originally released in 2018 by Century Media, is the band's fourth studio album. This is the first reissue of it on vinyl and features the two bonus tracks that were originally only available on the first CD pressing. "Bleed From Within have breathed life into a kind of metal that has long become stagnant and they have done this on their own terms. No backing down and no comprising can be found within Era, they have shown here just what can be done if you really believe in the music you’re writing. One of the standout releases of the year." -Ghost Cult Magazine "If you are a fan of riffs then Era is definitely going to be an album for you. Every song is packed several great riffs. The influence of bands like LAMB OF GOD and PANTERA can certainly be heard but things never sound completely derivative." -Distorted Sound Magazine

Big Big Love is the first single from the eponymous album that is a mantra for embracing humanity with kindness. The single will be released in conjunction with the Michael Franti & Spearhead tour date celebrating a return to Red Rocks on June 2. Franti announced the US Big Big Love tour on January 31 which launched May 13 and runs through August 20. Michael Franti is a globally recognized musician, humanitarian, activist, and award-winning filmmaker revered for his high-energy live shows, inspiring music, devotion to health and wellness, worldwide philanthropic efforts and the power of optimism. Throughout his multi-decade career, Franti has earned three Billboard No. 1's with triumphantly hopeful hits "Sound of Sunshine," "Say Hey (I Love You)," and "I Got You," as well as sic Top 30 Hot AC singles, 10 Top 25 AAA singles and three Billboard Top 5 Rock Albums. Michael Franti & Spearhead continue to foster their community both on and off stage with a wish granting non-profit, Do It For The Love, founded by Franti and his wife, Sara. Do It For The Love brings those with life threatening illnesses, veterans, and children with severe challenges to concerts worldwide, fulfilling over 3,300 wishes and touching the lives of over 12,000 people to date. Franti also owns SOULSHINE Bali, a 32-room top-rated boutique retreat hotel located in Ubud, Bali.

Somebody somewhere once said that music doesn't mean anything; it is meaningful.

The Czecho-slovakian instrumental trio, Inheritance, invite you to rediscover their sonic journey with the reissue of their previous EPs, "Frames" (2014) and "Saturate" (2016), now elegantly entwined into a single captivating package released for the first time on vinyl, on Weltschmerzen. Comprising of the trio Jakub Volovár (guitar), Alex Strapková (piano), and Peter Kušnírik (drums), Inheritance was active in the mid 2010s in Brno, later unfortunately disbanding due to own personal pursuits.

Frames // Saturate embodies the melancholic and melodic tension characteristic of contemporary post-rock, complemented by the whimsy of piano-led instrumentals with a tint of indie-playfulness and a very slight yet powerful grain of sludge heaviness that can be traced back to Volovár's and Kušnirik's earlier post-metal project, Dawn to Come.

"Frames // Saturate" is first and foremost a compact sonic voyage. Volovár's evocative yet precise guitar work builds complex yet airy scaffolding, while Strapková's piano melodies create a tapestry of moods around it. Both EPs showcase Strapková's piano prowess, transforming each composition into a living organism. Kušnírik's drumming then acts as the steady pulse, guiding you through. These songs encapsulate the kind of mutualism and appreciation for (musical) interdependence that you can only develop throughout the years of practice and playing live.

You can hear how much fun it was for the band to play these songs, and that sense of joy translates directly into your own listening experience. It's the kind of music that makes you pick up an air guitar, (piano, or drums) - and sometimes everything all at once. It is music serious and poetic, yet fun and moving and complex at the same time.

In March of 2022, Car Seat Headrest brought their "explosive" (Brooklyn Vegan) live show to Brooklyn Steel in New York in support of their 2021 album "Making a Door Less Open." Across three back to back nights, the band played revved up versions of tracks spanning their extensive back catalog. On December 8th, CSH will release a collection of recordings from those performances which includes fan favorites "Beach Life-In-Death," "Crows", "Something Soon", and "Drunk Drivers / Killer Whales."