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Kiioto ist das Liebeskind von Lou Rhodes, der für den Mercury Prize nominierten Singer/Songwriterin und Mitbegründerin des Trip-Hop-Duos Lamb, und dem mehrfach mit Platin ausgezeichneten Songwriter und Keyboarder Rohan Heath. Gemeinsam haben sie ein Album aufgenommen, das gleichermaßen instinktiv und neugierig ist: "As Dust We Rise" basiert auf den Wegen, die die beiden bis zu diesem Punkt eingeschlagen haben, und ist getragen von einem Spirit ständiger Erkundung und Entdeckung.

Die Songs wurden in den Heimstudios von Lou und Rohan in London und Wiltshire geschrieben und teilweise aufgenommen und anschließend in das Studio des Produzenten Simon Byrt (Emiliana Torrini, Charlotte OC, Jessie Ware) gebracht. Zu den Mitwirkenden gehört Valerie Etienne von der Acid-Jazz-Band Galliano. Byrts Befürwortung analoger Aufnahmen und Vintage-Equipment erwies sich als entscheidend für den warmen und organischen Klang der Platte, der mit Hilfe von Gastmusikern an Live-Schlagzeug, Streichern, Bass, Gitarre und Horns liebevoll ins Leben gerufen wurde: kollaborative Prozesse, sagen Lou und Rohan, die sie auf ihrem nächsten Album weiterzuentwickeln beabsichtigen.

"Es ist eine Platte, die vor den großen Themen des Lebens nicht zurückschreckt", sagt Lou, "wir haben dafür irgendwie die Ärmel hochgekrempelt."

Inhaltsangabe:Lautes Gekrächze und Hilfeschreie schallen durch den Park. Peter eilt zu Hilfe, als ein Mann von einem wild gewordenen Schwarm Krähen attackiert wird.Mit ihren spitzen Schnäbeln hacken die Vögel wütend auf den Mann ein und lassen nur schwerlich von ihm ab. Was hat die Krähen so in Aufregung versetzt? Justus, Peter und Bob folgen dem Ruf der Krähen und stoßen auf ein geheimes Projekt, das die Zukunft der Menschheit auf den Kopf stellt. Sprecher:innen & MitwirkendeErzähler: Axel MilbergJustus Jonas, Erster Detektiv: Oliver RohrbeckPeter Shaw, Zweiter Detektiv: Jens WawrczeckBob Andrews, Recherchen und Archiv: Andreas FröhlichGoldie June: Uli HeissigGordon Dust: Till HagenRoy Hancock: Nicolas KönigKimberly Cryder: Viktoria FleerBuch und Effekte: André Minninger - Regie und Produktion: Heikedine KörtingRedaktion: Maike Müller - Titelmusik: Simon Bertling & Christian Hagitte (STIL)Musik: Jan-Friedrich Conrad, Jens-Peter Morgenstern, Constantin Stahlberg Cover-Illustration: Silvia Christoph - Design: Atelier SchoedsackBasierend auf dem gleichnamigen Buch von André Minninger, erschienen im Kosmos Verlag, Stuttgart. © 2023Based on characters created by Robert Arthur. Mit freundlicher Genehmigung der Universität Michigan. Die drei ??? © 2024 Franckh-Kosmos Verlags-GmbH & Co. KG. (P) & © 2024 EUROPA a division of Sony Music Entertainment GmbH

Inhaltsangabe:Lautes Gekrächze und Hilfeschreie schallen durch den Park. Peter eilt zu Hilfe, als ein Mann von einem wild gewordenen Schwarm Krähen attackiert wird.Mit ihren spitzen Schnäbeln hacken die Vögel wütend auf den Mann ein und lassen nur schwerlich von ihm ab. Was hat die Krähen so in Aufregung versetzt? Justus, Peter und Bob folgen dem Ruf der Krähen und stoßen auf ein geheimes Projekt, das die Zukunft der Menschheit auf den Kopf stellt. Sprecher:innen & MitwirkendeErzähler: Axel MilbergJustus Jonas, Erster Detektiv: Oliver RohrbeckPeter Shaw, Zweiter Detektiv: Jens WawrczeckBob Andrews, Recherchen und Archiv: Andreas FröhlichGoldie June: Uli HeissigGordon Dust: Till HagenRoy Hancock: Nicolas KönigKimberly Cryder: Viktoria FleerBuch und Effekte: André Minninger - Regie und Produktion: Heikedine KörtingRedaktion: Maike Müller - Titelmusik: Simon Bertling & Christian Hagitte (STIL)Musik: Jan-Friedrich Conrad, Jens-Peter Morgenstern, Constantin Stahlberg Cover-Illustration: Silvia Christoph - Design: Atelier SchoedsackBasierend auf dem gleichnamigen Buch von André Minninger, erschienen im Kosmos Verlag, Stuttgart. © 2023Based on characters created by Robert Arthur. Mit freundlicher Genehmigung der Universität Michigan. Die drei ??? © 2024 Franckh-Kosmos Verlags-GmbH & Co. KG. (P) & © 2024 EUROPA a division of Sony Music Entertainment GmbH

The new Macadam Mambo release by Poperttelli is a great piece of music ! In the Ambient vibe of the originators Future Sound Of London or The Orb, this album concept around dreams travelling, brings us into tribal futuristic landscapes, dark atmospheres on heavy beats and trippy floatings. Poperttelli is not a new artist in the electronic scene, he has already put out few releases on labels like Lost Dogs, Brokntoys, Maturre or Pinkman more recently, and is definetely a name to follow if you didn’t alredy do…

Habibi Funk is thrilled to share a second collection of deep grooves and unreleased songs from Algeria's Ahmed Malek, often compared to Italian heavyweight Ennio Morricone. Malek’s music effortlessly switches between thematic jazz, funk, reggae and Algerian folk – creating indelible soundscapes that intersect the musical innovations made in African jazz by Mulatu Astatke, Bembeya Jazz National along with some of Europe’s finest experimental composers like Piero Piccioni and Janko Nilovic. “Musique Originale de Films, Volume Deux” is out June 28th, 2024 via Habibi Funk.

Whenever an interview asks about a “memorable moment” in Habibi Funk label history, one we always reference is how we got in touch Ahmed Malek’s (22K Spotify Followers, 285K Spotify Monthly Listeners) music and subsequently his family. It all started with us coming across Ahmed Malek’s music on YouTube in 2012. We were mesmerized by how effortlessly the music would switch between jazz, funk and Algerian folk while counterweighting it with an undertone of melancholia. Musical perception is different for every person, but there is a chance that his music will touch you in one way or another. At the time, we had just started the Habibi Funk label and we felt Ahmed’s music might be a good fit for the sound we were trying to highlight. Fast forward three years: we had become captivated with the idea of reissuing some of Ahmed Malek’s music. We knew some people had tried to locate his family but, but with no success. In the end it was an incredible amount of luck that made it possible for you to read these words and listen to Ahmed’s music. We were on a DJ gig in Beirut playing old Arabic records and we mentioned our passion for Ahmed Malek’s music to a friend. She said she knew one person in Algier, and as much as it would be a shot in the dark, she could ask her if she had an idea of how to find Malek’s family. Two weeks went by before we heard back, and what we got was incredibly good news - her Algerian friend was the neighbor of Ahmed Malek’s daughter! We’re not spiritual people, but it felt like the universe wanted to see the release happen. We started to speak with Henya, Ahmed Malek’s daughter and she was more than happy with our idea. She assured us that her father would have loved the plan as well. She provided us with tons of awesome material, from great photos, to unseen video footage and unreleased tracks. Eventually we visited Henya in Algeria and we licensed some of her father’s music, first for one (Habibi 003), then for another (Habibi 005), then we eventually organized an exhibition in June/July 2019 – Planète Malek – Une Rétrospective – at the Musée Public National D’Art Moderne & Contemporain in Algiers, focusing on Ahmed Malek’s artistic life. We also produced a small movie about him that our friend Paloma Colombe shot and directed. “Musique Originale de Films, Volume Deux” is a deep collection of unreleased songs and stemmed grooves from the Algerian master, from jazz, funk, psych to reggae rhythms and Latin flavors, all under the sonic umbrella of “Planète Malek;” and to quote the maestro, “I didn’t choose music, music chose me.” Lead single is the subtlety funky “Thème Rythme Léger,” out May 3rd along with LP Pre-Order (coincided with Bandcamp Friday for a larger impact) a delicate sonic dance between flute, piano and Spanish guitar with a Bossainfluenced groove. The steady, swingin’ drum groove is cloudlike - definitely toe-tapping friendly so just grab a partner to feel the Rhythme Léger. Second single out May 17th is the reggae-infused “L’Empire Des Rêves” – a sultry sax melody weaves through a prismatic rocksteady thematic groove. 3rd and final single “Thème Djalti feat. Aïda Guéchoud” – is a true Western-inspired ode to his Italian counterpart Ennio Morricone. “Thème Djalti” features the haunting vocals of Aïda Guéchoud, and combines elements of baroque and Bossa-jazz in a timelessly thematic way that seems grandiose yet remains uniquely personal to your ears. Swelling strings, trumpet, fem vox, flute, and plucked guitar expertly arranged, feels like you’re riding a horse into the sunset. Focus track “La La La” is fiery afro-arab-funk of the highest order! Put on your dancing shoes as Ahmed cuts the rug and gets us grooving along. Sonically the cut sounds like if Ahmed ran into The JB’s and Fela Kuti at a Cymande concert. Driving guitar and organ solos vie over pulsating bass riffs and afro-funk drumming that’ll have you out on the dance floor in no time. As always, both vinyl and CD come with an extensive booklet featuring background and interviews with Ahmed compiled through found newspaper clippings and newsreels, also including unseen photos, scans and more. “Ahmed Malek: Musique Originale de Films, Volume Deux” will be out everywhere June 28th.

Limited edition "Coke Bottle Cloud" color vinyl with etched b-side. Australian duo Armlock make music for having your head in the clouds. On new album Seashell Angel Lucky Charm, Simon Lam and Hamish Mitchell bring you on a steady ascension through compressed and heavenly sonic realms. The band's second proper release, and first for Run For Cover Records, showcases the songwriters' experimental electronic roots through an indie rock lens. Free from distortion or overindulgence, Seashell Angel Lucky Charm is a collection of consistent rhythms decorated with clean guitar tones and eccentricities. Through playful layers of vocal harmony and minimal arrangements, Armlock capture the inventive and uncomplicated essence of Pinback or Alex G. Self-described as "indie rock with a touch of spirituality and emo", Armlock's journey into a higher realm is seeped with the looming confusion that comes with exploring the unknown. With an introverted demeanor, Armlock explores the human desire to find guidance in a world much bigger than its people. Every sound on Seashell Angel Lucky Charm feels precise and intentional, making the anthemic choruses on tracks like "Fear" and "El Oh Ve Ee'' feel expertly placed and pop-oriented. These two songs show Armlock's savvy with harmony as they use octaves of angelic sounds to stretch a simple one-word chorus until it soars with meaning. Unlike most indie rockers, Armlock use guitar as a tool in their belt rather than a vessel for songwriting. Where their 2021 EP Trust set foundations in downtempo acoustic guitar, Lam and Mitchell's evolved songwriting is a testament to where an electric guitar can amplify a song's groove, or usher in sonic space.

The multifaceted Perth-based record label 823, founded by Australian producer and creative powerhouse Ta-ku, is gearing up for "All Things Considered Vol. 3." Committed to detail and a celebration of life's simple pleasures, this LP refuses to be confined to any single genre. Noteworthy releases from 823 include Cabu's "So Far To Go" EP, Ta-ku and Matt McWaters's collaboration "Black and White," featuring the Masego collaboration "Flight 99," and their debut project with Australian producer and instrumentalist Kuzich.

This time, The guest list includes Jakarta Records beat-veterans Alexander Flood, Lucid Green, and Cabu, bringing RnB with a soulful twist that's sure to warm the heart. Playfully melodic artists Makzo, falcxne & Seb Zellner blend jazz, soul, and sweetness creating a natural and playful sound for the LP. Den Brooks, Lovesome, and Tambala all contribute to the rhythmic neo-soul zest on the iconic 808 beat.

On the whole, "All Things Considered Vol. 3" embarks on a forward-thinking rhythmic journey into the creative minds behind the LP. It's as diverse and eclectic as those minds themselves and proudly follows up on its first and second volumes. Natural sounds blend seamlessly with electronic elements, from lush melodies to wintery vibes. Playful vocals adorn this 12-track gem, from Lucid Green's ethereal journey "Splash" twisted in UK garage vibes to the jazz-pop infused "Lost & Found" by Makzo & friends, echoing Jamiroquai-esque beats. The first single, "Babyslowdown" by MXXWLL, takes center stage with its strings, while Alexander Flood's James Bond-inspired melody receives a funky update.

INSIDE is the third album (and second in a row on Brixton Records) by the respected ten-piece group from Barcelona that fuses Jamaican music and jazz. DROP COLLECTIVE bravely faces the so-called third album syndrome and makes a sincere declaration of principles, a public manifestation of their musical identity. The two sides of the album are clearly identified. Side A is Inside-Out, displaying five own-penned compositions, including three songs sung in Catalan and two in English, in which DROP COLLECTIVE make it clear what they like to do and what they are capable of offering. The album opens with "Com Estimo Jo" (The Way I Love), a reggae ballad composed by Andreu Domènech (baritone sax) that is dedicated to the growth and learning we do when we love. It is followed by "Let Us Dance", a fluid ska with Latin airs and an invitation to dance, which recaptures the sound of some of the most celebrated passages from their previous album. "Estel" (Star) is a melancholic reggae song, sung in Catalan, in homage to someone who is no longer here - "now you are the star that watches over us from up there, bright, bright". Prior to the release of this LP, four advance tracks have been published on digital platforms, but "Life's Too Short" is, perhaps, the album's single. This resounding reggae with a powerful brass section could have easily taken more elaborate instrumental and studio developments, however, the band has preferred to produce a compact track brimming with strength and lasting less than three minutes. “Ombra" (Shade) closes this side of the album with solemn roots sonorities. The B-side is Outside-In, four reinterpretations of jazz classics that DROP COLLECTIVE internalize, make their own and, therefore, also form part of their identity. The choice of pieces is hair-raising, because of the risks they take. "Yearnin'" is a cover of the song originally included in one of the most epic albums in the history of jazz, "The Blues and the Abstract Truth", by saxophonist Oliver Nelson. DROP COLLECTIVE take the song to their own territory with the skill and freshness of expert ska-jazzers and with the special collaboration of trumpeter Joan Mar Sauqué, they make one of the most famous riffs in jazz sound unashamedly contemporary and... Caribbean. "Day by Day" is an adaptation of the standard from the late forties of the last century that was part of the regular repertoire of, among others, Frank Sinatra. The result is a swinging ska love themed, sugary and romantic, with an exquisite interpretation. And to close the album, two extraordinary trials by fire for Maria del Rio, the band's vocalist, which she solves with total ease and mastery of the situation. "What a Little Moonlight Can Do", a composition by Harry Woods that the legendary Billie Holiday recorded in 1935 and which, after 90 years, still sounds fresh in up tempo ska mode, and "Sinnerman", a traditional spiritual from the early 20th century made popular worldwide by Nina Simone, becomes a lively ska-jazz with soulful touches and an infectious organ solo by Daniel Ferruz. INSIDE is an album with a compact, solid, and synchronous sound, but full of details, which gives a total sense of permanence and singularity to their skareggae- jazz mastery, in which many universes fit.

Emerging from the shadows and plumes of smoke, Chicago, IL ensemble HUNTSMEN are set to make their return in 2024 with their third album, The Dry Land, set to be released via Prosthetic Records on June 7. On their first full-length in four years, HUNTSMEN’s The Dry Land traverses the liminal space between the living and the dead by lifting the veil of the abyss itself. Born of suffering and hardship, The Dry Land unifies the dark and light that resides in all of us through allegories of purgatorial strife and human spirit. Following the release of their sophomore full-length, Mandala of Fear, in 2020 and The Dying Pines EP in 2022 HUNTSMEN’s intervening years between studio albums were marked with devastatingly contrasting highs and lows. Whilst their body of studio work continued to garner acclaim from fans and critics alike, chronic illness would become a recurring uphill battle for the ensemble. As these jarring mixed fortunes reached their apex towards the end of 2022, the band reached towards each other outside of their craft as old friends. Taking stock of four years of tribulations led to a reevaluation of what it is to be creatives and, in turn, ushered in a collective rebirth. Writing sessions saw a number of artistic firsts for HUNTSMEN, most notably with the first full collaborative inclusion of vocalist Aimee Bueno-Knipe. The creative process soon saw HUNTSMEN adding more black metal influences into their Americana and folk tinged doom, evidenced most overtly on tracks such as This, Our Gospel and lead single In Time, All Things. Elsewhere, HUNTSMEN’s knack for finely crafted and richly layered melodies offer moments of resplendence on the slow burning Lean Times and closer The Herbsight. Mirroring the circumstances and environment that led to its creation, The Dry Land’s pacing is one rooted in the art of rise and fall dynamics both musically and lyrically. Tales of escaping religious violence, malevolent apparitions and death incarnate all play key roles throughout the album’s narrative thread. HUNTSMEN treat each tale as both exorcism and exaltation, adding a pervasively unsettling quality to The Dry Land that is sure to stick long after the runtime is over. The Dry Land was recorded and mixed by Pete Grossmann at Bricktop Studios before being placed in the hands of Brad Boatright for mastering, with the resulting sound adding a towering grandiosity to the album whilst simultaneously highlighting HUNTSMEN’s newfound corrosive qualities. The Dry Land’s striking cover art was created by Derek Setzer, depicting an immolating dancer in high contrast black and white amongst rusted gold. Through the fire, HUNTSMEN find themselves reborn on The Dry Land.

Françoise Hardy auditioned for Vogue Records at 18 and went on to top charts with her very first release, a 1962 self-titled record now known as

“Tous Les Garcons Et Les Filles” based on its hit song. From there, the infamously timid Hardy became one of the few French pop stars of the era to

cross over, jetting from England to France to record, serving as a muse to designers like Yves Saint Laurent, and inspiring Bob Dylan and Mick Jagger.

That debut showcases Hardy at her simplest, wringing rockabilly-tinged pop magic from modest jazz percussion and steel guitar. Hardy wrote most

of her own material, setting her far apart from her peers, and on her debut she penned every song but two. Her lyrics would never be this close to yé-yé traditions again.

Nick Cave & Warren Ellis present a suitably epic, wondrous soundtrack suite for Mars, the National Geographic Channel's 6-part series. The fictional TV series tells the story of the first astronaut crew on a mission to Mars in 2033. Directed by Everardo Gout and produced by Ron Howard & Brian Grazer, the series aired in November 2016. Composers Nick Cave and Warren Ellis deliver a pitch-perfect score to complement the thrilling yet daunting mission to a desolate alien planet in which the human species struggle to survive, thrive and forge an existence in this new world. Cave and Ellis provided thirteen tracks including the show’s theme song, which occupies a similarly cosmic electronic atmosphere as the band’s album Skeleton Tree. Mars is available as a limited edition of 1000 individually numbered copies on yellow flame coloured vinyl and includes an insert.

Repress on rosewood coloured vinyl. HOST is the name of a devil worshipping ministry, that in order to spread their unholy gospels and, furthermore, trick mankind into believing that the end is ultimately a good thing, have decided to use the ever so popular rock music medium as a way to achieve their ends. Standing motionless and anonymous beneath the painted faces, hoods and robes which their sect demand, the six nameless ghouls of Ghost deliver litanies of sexually pulsating heavy rock music and romantic lyrics, that glorify and glamorise the disgusting and sacrilegious, with the simple intention to communicate a message of pure evil via the most effective device they can find - entertainment. In May 2010 Ghost were contracted to a UK based gramophone company called Rise Above Ltd, who swore an oath stating that they will assist the group in the task of spreading their musical blasphemies through formats such as Compact Discs, Long Playing Vinyl Records and Digital Downloading. The first full length Ghost album Opus Eponymous will be released in October 2010 and it is understood and agreed that Rise Above Ltd will invest money in areas such as magazine advertising and retail marketing and will employ the services of music publicity specialists in order to expose the music of Ghost to the wider public. Specific attention will be paid to targeting people (research suggests these are most likely to be adolescents) who have a void in their life, perhaps caused by some form of emotional trauma or upset, that can be filled by the music and philosophies of Ghost.

HIGHLIGHTS Originally released in 1980, this was Stiv Bators' first solo album. Now reissued with 2 bonus tracks, not available on the original version, a slightly different picture on the cover (the actual unfiltered photo as used on the 1980 issue) and a booklet with extensive liner notes and photos. Bators was the man who destroyed Rocket from the Tombs, from which he hijacked half the members to found one of the most influential American punk bands to have existed, The Dead Boys. Stiv had turned in his broken teeth for a more power pop oriented solo career. This is not an album recorded by a has-been former punk idealist; instead it's a true step forward into another unknown arena packing all the glare and attitude that remained from the last. The music is more similar to 60's power pop than the vicious punk rock that Bators became known for originally, while a member of The Dead Boys. New generations continue to discover it. It still holds up very well and sounds as fresh and vibrant as ever. DESCRIPTION On August 11th of 1980, Stiv Bators, David Quinton Steinberg, George Cabaniss and Frank Secich flew to Vancouver, in British Columbia, Canada. They were there to do the West Coast leg of the "URGH! A Music War" tour. On the bill of the tour were Pere Ubu, Magazine, the Members, and they were billed as Stiv Bators and the Dead Boys or just the Dead Boys. After the tour they were supposed to embark on a 6-week tour of Australia, New Zealand, and the Far East. During the beginning of the Urgh Tour the Australian Tour was abruptly canceled. Greg Shaw who owned Bomp Records decided that since the band were already going to be in California that they should do Stiv's solo album which they had planned to do after returning from Down Under. So, Bators and the rest of the group set up camp at the infamous Tropicana Motel in West Hollywood and Greg booked them into Perspective Studios in Sun Valley, CA. Before going into Perspective, they went into Andy Chappel's Stone Fox rehearsal studio in North Hollywood, CA for a few days to rehearse the songs and arrange them for the album. "We had 'Evil Boy' (Zero-Secich), David Quinton's 'Make Up Your Mind' and my song 'A Million Miles Away'. We also rearranged mine and Stiv's 'The Last Year' changing the key from D to F# and making it much easier to sing in a power pop vein. In addition, we had 'Swinging A Go-Go' another great contribution by George Cabaniss. Stiv and I had written two more for the album 'Ready Anytime' and the album closer 'I Wanna Forget You (Just the Way You Are)'. We also had a moody dark instrumental (written by Cabaniss-Quinton-Secich) that we were playing around with for some time. Stiv was supposed to write lyrics for it, but he never got around to it, so we left it as an instrumental. It had a great vibe and reminded me of the John Cassavetes 1956 film "Crime in The Streets" and was thus christened that. The last song we picked for the LP was 'I Had Too Much To Dream (Last Night)' which was the one cover we did that suited Stiv's voice perfectly. After a few days of rehearsing at Stone Fox, we went into Perspective Studio in Sun Valley, California. Greg hired Thom Wilson (who would later become a famous punk rock producer of Offspring, Iggy Pop, Dead Kennedys, T.S.O.L., Bad Religion and many others). Stiv co-produced with Thom and Andy Chappel and Thom did the engineering." Frank Secich recalls. In September, after the "Disconnected" mixing sessions, Stiv went to Baltimore to film "Polyester" with Movie Director John Waters and actors Tab Hunter and Divine. Stiv then went to the UK to record with the Wanderers doing their LP "Only Lovers Left Alive". He wanted to have both bands going simultaneously but logistically and practically they all knew that could never work. The "Disconnected" Band would do one last tour to support the album release of "Disconnected". The LP was released by Bomp Records on Monday December 08th, 1980. Later that night, John Lennon was murdered in New York City. So many of the principal characters involved in the creation of "Disconnected" have passed on. Stiv Bators (June 3rd, 1990), Greg Shaw (October 2nd, 2004), Thom Wilson (February 8th, 2015), and George Cabaniss (July 17th, 2020). But "Disconnected" lives on and on and has left quite a legacy for itself. There have been over 100 cover versions internationally of the songs from "Disconnected" and it has been in print and reissued in various forms in many countries around the world. New generations continue to discover it. It still holds up very well and sounds as fresh and vibrant as ever.

After remaining unavailable for years, here's the long-awaited vinyl reissue of the debut album (originally released in 1972) by one of the epoch-making groups in the history of Peruvian rock: We All Together. Their original compositions -all sung in English- betray their passion for McCartney, taking Beatle centrism to new heights in South America. While the Uruguayan Los Shakers could remind us of the first phase of the Fab 4, We All Together is like their '70s version. Amazing compositions, with nods to prog rock and the twilight imprint of singer-songwriters living the end of the hippy dream, that show both diversity and a defined identity. A must for any '70s rock collector. DESCRIPTION Between 1967 and 1974 Saúl and Manuel Cornejo led a series of epoch-making groups on the MAG label (New Juggler Sound, Laghonia and We All Together) in the history of Peruvian rock. All these bands were directly influenced by the British invasion and used new sounds from Hammond, phase shifters, synthesizers and tapes played backwards, which stimulated rivalry with other groups. Another hallmark of the brothers was the technical quality of their records, thanks to Saul's supervision of all MAG recordings between 1972 and 1974. At the end of 1971, when Laghonia was working on the last tracks of "Etcétera", they met Manuel Antonio Guerrero's (MAG) son, Carlos, who had just got back from the USA, and gladly joined in the choruses of the last songs Laghonia was recording. They met up again soon after to rehearse some of Paul McCartney's songs. As soon as he heard them play, Guerrero Senior urged them to form a group focused on cover versions of foreign hits not yet known in Peru. Initially, the Cornejo brothers weren't enthused by a project so different from Laghonia, but ended up accepting as it gave them the opportunity to spend time in the studio. Carlos' melodic voice was another incentive, although they made it clear that the new group, We All Together (WAT), would stick to the mixing desk: "The group isn't into presentations or shows, we're about recording music and purifying it to the max," stated Saúl at that time. Their first album included four covers of Paul McCartney and Badfinger, several compositions by Carlos Guerrero -appealing Beatles-style melodies- and two songs from Saúl and Manuel's archives. 'Children', by keyboardist Carlos Salom, opens the LP: a nostalgic description of childhood, with the distinctive piano sound (achieved through mixing) that permeates the record. Although WAT sang and composed in English, they had no intention of undermining or alienating national culture. Their aim was much more innocent: they simply wanted to make it in the English-speaking world. 'It's a Sin to Go Away' was composed during Laghonía's lifetime as a band and it features guitars played backwards and a psychedelic-progressive style closely attuned to the era. After being included on several compilations, praise for the song has flowed from Europe and the United States in recent years. The album was released in July 1972 and became one of the best-selling Peruvian rock LPs.

SIDE A/B BLACK / WHITE / NEON MAGENTA VINYL, limited to 100 copies. REPRESS of the legendary album. Prior to the formation of Queens of the Stone Age, bassist/singer Nick Oliveri recorded some originals with ex-Kyuss bandmates Josh Homme (guitar) and Brant Bjork (drums), plus Karma to Burn's Rob (drums) and others. But once recording was completed, Oliveri decided to shelve the tapes; it wasn't until several years later (well after Queens of the Stone Age began to establish themselves) that the bassist decided to release the songs on a friend's indie label, Southern Lord Records. Going by the name Mondo Generator, 11 tracks were compiled for the 2000 release Cocaine Rodeo. The majority of the songs are much more raw and hardcore/punk-based than Oliveri's output with QOTSA, as evidenced by such tracks as "Shawnette," "Uncle Tommy," "Unless I Can Kill," and "I Want You to Die."

Iconic early 90's Ibiza downtempo sound, “Daybreak” would have undoubtedly been the soundtrack to many sunrises in the Baleares. Simon Monday mixes the essential ingredients for bliss in perfect balance, a production so simple yet so effective, no rocket-science just pure intuition, honesty and sharp club sense. All elements coming together to make such an effortlessly powerful sounding instrumental house classic that will forever stand the test of time. Repacked in this new remastered re-issue with full artwork and with 2 new mixes: an extended 9 minute dub version with a new religious edge to it along with an additional re-drummed percussion heavy “bonus beats” for good measure. A no brainer buy-on-sight release for any proper record collection, just in time for the summer season.

Veiga lands straight on the dancefloor, no ambiguity about it. Spurred by the guys from RS Produções, he's been honing his DJ skills since he was 17 (currently 23), initially with partner Nunocoox, who gave him even more motivation. Production came naturally sometime in 2020. We venture: maybe one of the good things coming out of the lockdown? Summer of '22, his debut at Musicbox (at the Príncipe monthly residency) is recorded as a festive, lively set, punctuated by the kind of crowd shouts only heard when things go really happy and sweaty. Since then, Veiga's name has been spotted regularly in the afro club scene, growing in reputation

This side of kuduro, "Leandro" is as expressive as it gets, with percussive forces pulling in deceitfully different directions, much in the same style as the slower form of tarraxo. But we can call this house, yeah? No niceties, however: little over 3 minutes and the track abruptly cuts into silence, exuding the raw power of something made for the mix, not in the least "for the people". In a similar pragmatic mode, the stabs in "Sem Nome" get the party started unannounced. Full mode, for the duration. Minimal groove, broken beats and emotive highlights. "Boiler Room" may be wishful thinking, an interpretation of what is required to rock the place or, ultimately, just a title to wrap up the project. In any case, here's a feisty vocal-and-whistle driven stormer, building up to perfection over three and a half minutes. All elements exactly where they belong. Relentless pace in "X de Destroi", a dark side operation, unreal ambiance, breakneck beats, a purgation?

The title "Tudo É No Guetto" contains all the necessary theory. Everything happens in the ghetto. This uplifting house slab celebrates life as it is, freezing hardships for a moment, the ghetto seen as welcoming, a natural place to be. Vocals stashed away in his cell phone come from the animação crew Os Twinni (he joined them for a while). Clipped, repeated and manipulated to convey the very simple feeling of good times. Veiga himself talks about growing up with minimum resources but still happy. That is the memory he retains from being a kid in the ghettos of Amadora, just outside of Lisbon, born to a Cape Verdean father and Portuguese mother. Though the music sounds carefree and the message is chilled, let us not be tempted to rebrand Reality.

Girl On Fire features powerful anthems and intimate ballads, led by Keys' signature soulful voice and personable and relatable lyrics. Keys collaborated with acclaimed and emerging talents, including longtime song writing partner, Krucial, Grammy Award-winner Babyface, renowned writer and vocalist Jeff Bhasker, critically-acclaimed artist Gary Clarke Jr., up and comers, Pop and Oak, as well as emerging talent from the U.K., Emeli Sandé and Jamie XX, among others. The songs on Girl On Fire are anchored by Key's powerful vocals and trademark piano, but are sonically broadened by heavy drums, electric sounds, reggae and future soul, which gives the album an evolved, modern-day feel while simultaneously sounding like a classic body of timeless music. The album features an inspirational mix of the rich sounds Keys discovered while recording and travelling the world, particularly time she spent in London and Jamaica, layered within her New York City roots.

“On ‘The Nashville Sessions’ as throughout Van Zandt’s entire catalogue, the more wretched he sounds, the better - and on the best parts of ‘The Nashville Sessions’ he almost makes melancholy sound a condition to be envied.” Uncut In 1974, Townes Van Zandt recorded what would have been his seventh album, ‘Seven Come Eleven’. Business issues prevented its release until the recordings surfaced two decades later as ‘The Nashville Sessions’ In 2014, Townes Van Zandt’s original manager and producer Kevin Eggers gave Charly Records’ Rob Caiger and engineer Pete Reynolds the only surviving tapes to restore and remaster to present a stunning document of the folk-blues master at his absolute peak, originally released on vinyl for the first time in 2015. “You did a first-class with the record. The packaging looks sensational and the records sound great. That was what matter most to me over the years. I know Townes would be very pleased. The simple truth is the only things that matter to him was his songs and his music. All the rest was bullshit and he could have cared less. We began as dear friends and that’s how it ended just before his death. When it came to the music he gave all he had to give.” Kevin Eggers - 26 March 2015

Chicago's finest lyricist MC Juice, infamous from the mid 90s from beating Eminem in the Rap Olympics, is back with a scorching 9 track EP (3 instrumentals and an accapella included) on 12" vinyl! Following on from his two 45s on Nobody Buys Records and well as the hit album The Man, all of 3 of which rapidly sold out this is some of Juice's best work displaying his razor sharp wordplay and effortless flow to its fullest. The sound scape provided by Bankrupt Europeans for their 3rd collabo with Juice ranges from the upbeat & funky original version of All Day to the murky oboe of its remix, the dramatic strings on Where You Go and the sinister vibes of Unseen, in short, the perfect set up for Juice to get loose! We are beyond excited to be delivering some of MC JUICE’s finest ever work and there is a general feeling around Nobody-Buys-Records HQ that this may just be our finest release yet. Between the absolutely incredible artwork by the immensely talented Big Crunch, the beautiful marble vinyl, and the exquisite beats and rhymes, this EP is quite simply the perfect summer package. As always, every record is hand numbered!

Fellwarden was a concept forged by The Watcher (Fen, De Arma) back in 2014 to give voice to an epic, exultant form of black metal that nonetheless carries with it echoes of deep lamentation and remembrance. The Watcher’s goal was simple – to tell tales of sacrifice, of long-forgotten heroism and the rearing timelessness of the storm-forged landscape against a backdrop of windswept extreme metal. Fellwarden’s sound is steeped passionate vocals, subtle waves of keyboards, acoustic guitars, booming choirs and powerful riffs, underpinned by a cavernous percussive battery courtesy of Havenless (also of Fen).

After two years of careful crafting, the debut album of Fellwarden ‘Oathbearer’ is now ready to be proudly unleashed by Eisenwald – six stirring hymns of strident ambience and powerfully emotive songwriting. A heavily layered, textured release, ‘Oathbearer’ at once convokes the essence of contemporary acts such as Drudkh and Negura Bunget whilst simultaneously channelling the spirit of the old masters – Summoning, Bathory, Abigor, (early) Emperor and (early) Ulver.

Born out of revelry and resolution in a redwood cabin tucked into the California coast, endowed with a spirit simmering in wanderlust, and ornamented with the rich traditions of the Louisiana bayou, 'Lonesome Highway' marks the resilient return of Irena Eide, aka Rainy Eyes. These are eleven songs of triumph, punctuated with perseverance and perspective, here to sober up the soul and send it back stronger onto the blacktop. If Rainy's 2019 folk-infused debut, 'Moon in the Mirror', revealed the truth, 'Lonesome Highway' tells poignantly and poetically of the consequences.

'Lonesome Highway' was written as Rainy reflected on the juxtaposition of her circumstances. While she basked in the joy of her recent entry into motherhood, she was simultaneously confronting a troubled relationship that had turned toxic. "Songwriting was my therapy. It was basically how I dealt with the pain and the trauma. The music helped me heal," says Rainy. "This album is about how I had to help myself. To take that pain and use it. For it not to destroy me, but to make me who I am."

I have no neat and tidy way to summarize Joan of Arc. The group's obdurate dedication to shape-shifting reinvention charmed and frustrated in equal measure, and often simultaneously. Any conversation of who or what Joan of Arc is must also consider what the band is not—beyond a unit that avoided convention. Only one person, bandleader Tim Kinsella, remained in Joan of Arc from its 1996 debut to its final days in 2020. For nearly a quarter century, Joan of Arc maintained a fluid lineup that drew from a multitude of subversive Chicago music communities. Every musician and behind-the-scenes collaborator that played a role in Joan of Arc (a number that exceeds 100) influenced the band's direction and character. All the while, Tim helped maintain Joan of Arc's singular identity throughout all the shifts. No two Joan of Arc albums sound identical, but if you listen close enough, you trace ideas that took root on one LP and blossomed in the next. This book expands and deepens the story of Joan of Arc's first five albums (its Jade Tree period) with archival photos and pages ripped from Tim's journals, presented alongside Tim's recollections and a compact early history. This book comes with a live recording of the one and only show by Red Blue Yellow the band Tim started just before Joan of Arc presented here on a 7", along with download code for a couple hundred bonus tracks from the group's archives.

It’s been exactly a year since the 6th Borough boys emerged from their hiatus to bring us the Rhythm & Truth EP. This killer three tracker picked up where they left off and showed us that fans of deep, dusty, dubbed-out disco were as hungry as ever for new 6BP material and went on to garner praise from the likes of Jamie 3:26, Luke Solomun, Dam Swindle, Young Pulse and the Faith crew to name a few. Here on their follow up we’re treated to more of the good stuff and sees Craig Smith and Graeme ‘Revenge’ Clark whipping up four new cuts spanning speaker- wobbling sub-aquatic grooves and stripped back deep house.

One Way sets the tone with a subtle yet infectious percussive workout which is one of those mood setting tools which looks set to become a lot of DJ’s secret weapons this summer. Filtering strings and tweaked synths add that classic Chicago energy which won’t fail to get you locked into it’s groove. Spare Change treads a similar path but goes heavier on the echoing synth stabs and deep string pads proving that when the rhythm is rolling this nicely just let it roll.

Flip over for Backlash which takes us deeper still with lush chords and driving square wave bassline taking centre stage supported by an unrelent ing kick drum which helps to keep an intensity throughout the arrangement. Closing out the EP we have The Other, which sees 6BP dropping the BPM’s to create a low-slung slice of deep, underground house perfection.

2024 Reissue

Although he rose to prominence in the NYC jazz scene, working as Nina Simone's exclusive touring pianist, he never blossomed as a solo artist, so he decided to take the plunge and create "Liberated Brother" on his own. This work, which was completed in just 2 days of rehearsal and 5 hours of recording with trusted musicians, is an important work that instantly boosted his popularity as a composer!

The opening title track, "Liberated Brother," is a Latin-taste instrumental covered by Weldon's mentor, Horace Silver. Freddie Hubbard, J.J.Johnson, Peter Hervorzeimer and others have covered "Mr. Clean", which has a complex melody but a memorable phrase. Stanley Turrentine covered jazz-funk "Sister Sanctified" with comical synth phrases, and the version was re-evaluated with the sampling of Boogie Down Productions' "My Philosophy". The album "A Tribute to Brother Weldon" released in 2004 on Stones Throw after Weldon's death covers Blakestra. And jazz funk with a strong blues taste, "Homey" is a super classic that was heavily played on the dance floor in the 90's. The simple and groovy drums with few sounds and the melancholy melodica played by Weldon are cool and very sophisticated songs, and I agree that it was useful in the rare groove scene.

A work that triggered the recognition of his talent as a composer, with such a large number of masterpieces recorded. Don't miss this opportunity!

Repress!

KMD (Kausing Much Damage, or a positive Kause in a Much Damaged society) was a Hip Hop group in the early 90s perhaps best known for launching the career of acclaimed MC/Producer MF Doom (known during his KMD tenure as Zev Love X). After guesting on 3rd Bass' "The Gas Face," the trio (Zev, brother Subroc, and Onyx) released the acclaimed and overlooked "Mr. Hood" full-length. Their political outlook was similar to the group Brand Nubian, who guested on Hood; however, the style was more comical and included a great deal of clips from old children's recordings, mostly notably a sample of the Seaseme Street character Bert on the single "Who Me" This is the official Elektra Records/Traffic Entertainment Group re-release with original artwork and track listing in it's entirety. Cutting edge, ahead of it's time production and skits from KMD and Stimulated Dummies (John Gamble and Mr. Dante Ross). Features the singles "Peachfuzz", "Who Me" and "Nitty Gritty" (feat. Brand Nubian). This is one Rap album that is not to be missed.

“Featuring appearances from: Special Guest DJ, Ben Bondy, Hysterical Love Project and some other people we can't name for legal reasons"

The holographic swarm that is Downstairs People returns with their latest collection of subconscious songwriting. Simply titled ‘DSP’, Downstairs People’s sophomore album expands on their surreal horoscope of Top 40 musings, with nine works that explore the altered states of pop.

DSP reimagines the FM radio spectrum with distorted hooks, sour candy production and cascading vocal harmonies with no lyrics. Sung to us in an unknown language, it’s an archive of warped transmissions from beyond our solar system, conveniently recorded and presented as a flat, spinning monolith.

A brief history of having no time, and an ode to the subversive power of pop music.

Wrapped in Latex, in Berlin, Alone is the latest EP coming from Pletnev. Its four tracks trigger a dooming introspective look in an increasingly isolated, digital world, while simultaneously providing an extraterrestrial escape route.

"RZA’s third solo effort under his Bobby Digital alias is presented on vinyl for the first time ever. Digi Snacks continues the story line from Digital Bullet (issued on vinyl for RSD 2022) and includes features from Inspectah Deck (among others). Though RZA handles the production on almost all cuts, he does pull in a few outside producers for an assist. Most notably David Banner for “Straight Up The Block.” RZA describes the project as “simply fun hip hop - a perfect blend of reality, fiction, sci-fi and martial arts.” Digi Snacks debuts on vinyl for RSD Black Friday."

Freerange regular Simbad is back with a new 4 track EP following on from his 2021 Peaceful Revolution EP which got big support from Ron Trent, Gilles Peterson, Osunlade and Horse Meat Disco to name a few. Having based himself in Cape Town the last 5 or so years, the French born producer and DJ is one of the most prolific artists in the scene having notched up countless EP’s, remixes and production work for labels like Apron, G.A.M.M. Faces, Hyperdub, Atjazz, BBE & Brownswood. His association with Gilles Peterson and Worldwide runs deep, hosting regular shows on WWFM as well as traversing the globe delivering his unique and eclectic sets from Africa to Asia and beyond.

Lead track Nuphoria kicks things off in typical Simbad genre-bending style, sitting in a sweet spot between the Baltimore house of Karizma, the epic, uplifting techno of Laurent Garnier and the UK-centric rave sounds of Bicep and Kieren Hebden. Not an easy track to pigeon-hole but one that can’t fail to grab the dancers attention if dropped at the right time on a discerning dance floor.

Up next we have Dream featuring SA native Sanele who delivers a beautiful, raw and intimate vocal performance which fits perfectly with Simbads’ roughed-up drums and chiming Rhodes chords.

Flipping over Simbad delivers an alternate Pretoria Mix of Nuphoria which slows the pace of the original, adds a more rhythmic bassline and spoken word sample. A deeper alternative to the original which retains the euphoric quality thanks to its epic synth line and chords.

Closing out the release we have Wake Up featuring Frederick of Fifty Fathoms Deep who contributes to a bright and breezy house track with soulful chords and bouncing square wave bass line.

Prince will forever be remembered as a commanding live performer, chart-topping recording artist, and music business revolutionary. Yet for all the time he spent in the spotlight over his four-decade-long career, Prince also worked tirelessly behind the scenes to nurture talent and pen songs for the rising artists he respected.

Sourced directly from Prince’s vast archive of Vault recordings, ORIGINALS is a brand new 15-track album featuring 14 previously unreleased recordings that illuminates the vital, behind-the-scenes role Prince played in other artists’ careers. These are more than just demos, the production quality has been kept high and the recordings resemble a pristine quality similar to that of Nothing Compares 2 U released last year.

By the mid-1980s, Prince was dominating the charts even as a writer/producer with songs he’d composed and recorded for others. In addition to releasing nine of his most commercially successful full-length albums, he also wrote and recorded endless reels of material for proteges The Time, Vanity 6, Sheila E., Apollonia 6, Jill Jones, the Family, and Mazarati. Several of the iconic songs found on ORIGINALS were considerable hits for the artists who recorded them.

Uun returns to his imprint Ego Death for its 7th release. The vinyl version is pressed onto a special marble red and black color variation created specifically for this release. The artwork is printed on a partially translucent mylar lithograph.

“The more things change, the more things stay the same. The progression of the digital space from a place where like minded individuals can get together over shared interests has gone the way of everything else in the modern world. There is money to be made after all, and data is worth more than gold. All around us are rent-seekers, hucksters, and those who seek to profit from what was never theirs.

Platform Decay is the beginning of the end result. Everything that is unique and interesting is being flattened for maximum palatability and consumption. It is what the advocates like to call content. We have given all of ourselves away, so that we can be advertised to. All to chase the algorithm; the black box where art, culture, and creativity enter and only an amalgamation of disparate nothing exits.

Atrahasis is the genesis, the original story, the prime instance of human creativity and storytelling. We sell ourselves sight unseen for the simulation of a social experience. You try to walk the tightrope between physical and digital but soon realize you can’t have both. However your engagement is up which is the upside of losing everything. Reaching into the past you finally realize the meaning of the lamassu, the double aspect. Only to be forgotten again as you are consumed by the ouroboros.

The project is made whole by the evocative artwork of Ryote, who brings the themes together in a unique visual style. The beautifully printed vinyl insert lithograph print represents the digital tomb of social media, with the label art depicting the mythological double aspect.”

The word Simultaneity is a technical term from the theory of Special Relativity representing two distinct events happening at the same time. This fluidity is embodied in the musical exploration of Ari Tsugi. Comprised of mostly self-taught musicians, the soundscape is a unique melting pot of UK Jazz scenes and the raw energy that comes from psychedelic rock. Produced and mixed by Glasgow-based musician Sam Bancroft (Starsky-Rae) alongside engineer-producer Villus Vilo Jokubaitis, the album features offerings from Liam Shorthall and India Blue (Azamiah) alongside the original Ari Tsugi trio -Clement Gaud, Joe Weisberg and Mashu Harada - with keys from Angus MacDonald being added later down the line.

"For A Fleeting Moment" is the result of the dialogue between the Swiss photographer Simone Kappeler and the Japanese musician Tomotsugu Nakamura initiated by IIKKI, between March 2023 and May 2024.

Tomotsugu Nakamura is a musician and graphic designer residing in Tokyo, Japan. His primary artistic practice is to compose music with some fragments of minimal acoustic and electronic tones and some field recordings. In Concert, he he has played with various genre of musicians and his works have been released by Kaico, Audiobulb Records, and more recently by the French label LAAPS.

Born in 1952 in Frauenfeld (Switzerland) where she lives and works, Simone Kappeler started taking pictures at the age of 11. After studying German literature and art history, she studied photography at the Zurich University of the Arts. During a three-month trip to the United States in 1981, she took her first pictures using cheap cameras, especially the Diana camera.
Hasselblad, Leica, Diana, Brownie, Polaroid, disposable camera, expired or infrared films, since 1970, Simone Kappeler has explored all types of photographic techniques. Her work, experimental and poetic, reveals to us the curiously foreign world that surrounds us.
Since 1982, ongoing projects in southern France and the Grisons.1982/83, studio in New York, conceptual photography and Super 8 films. 1983/84, theater photographer, Schauspielhaus Zürich. 2009, six-week photographic study of Japan, 2015 studio in New York. Her work was the subject of a first monograph: "Seile. Fluss. Nacht. Fotografien 1964–2011", edited by Hatje Cantz and is regularly exhibited in Galleries and Museum in Europe and United States.
For A Fleeting Moment is her first book gathered exclusively a part of her wide polaroid works from 2011 to 2023.

Fine Art Book, Ltd. to 700 copies:
Hardcover book printed on Glossy Modern Paper 170g/m2 // 104 pages, 19cm x 22.5cm, 66 photos // Front cover points and back cover logo embossed // Selective UV varnish // Hand-numbered.

Mel Britt’s magnificent “She’ll Come Running Back”, with its searing strings and anguished vocal it is the complete deal, simply Northern Soul perfection. Cecil Washington takes second credit on the now iconic “I Don’t Like To Lose”.

Brie Stoner ist eine Künstlerin, die sich ihres mehrsprachigen und multikulturellen Hintergrunds gekonnt bedient. Sei es nun in ihrer Indie-Dream-Rock-Musik, ihrem Schreiben oder ihrer Kunst. Als Musikerin hat Stoner mit dem Produzenten Jay Bennett (Wilco) und zuletzt mit David Vandervelde (Father John, Secretly Canadian) an ihrem neuen Album 'Me Veo' gearbeitet.

'Me Veo' ist spanisch für "Ich sehe mich selbst", und diese offenkundige Selbstentdeckung und Heimkehr wird in ihren Indie-Dream-Rock-Songs deutlich, die den Bogen ihrer eigenen Weiblichkeit spannen ... die zwischen verführerischer Sirene, verletzlicher Zärtlichkeit und Momenten der Souveränität in ihrer unverblümten Aufrichtigkeit harmonieren.

Ihr Sound ist ihr ganz eigener, lässt sich aber von Neil Young, Fleetwood Mac und Mazzy Star inspirieren. Brie's Musik wurde bereits von Victoria Secret, Orange Is the New Black, The Affair und Ralph Lauren genutzt.

Brie hat ein neues Buch veröffentlicht und moderiert den Podcast Unknowing, in dem Künstler und andere Kreative über ihre Arbeit sprechen.

This vinyl reissue celebrates Roberto Roena y Su Apollo Sound’s first release for Fania Records in 1970. Founded in 1969, “Apollo Sound” was considered one of the best salsa bands in Puerto Rico. Standout tracks include “Tu Loco Loco, y Yo Tranquilo,” “El Escapulario” and the Bobby Capó classic “Soñando con Puerto Rico.” Featuring (AAA) lacquers cut from the original master tapes by Kevin Gray at Cohearent Audio, this 180-gram vinyl pressing is housed in a vintage-style tip-on jacket. US import.

Since the inception of Anxious in 2016, the band has always acted with purpose. This may seem like a simple premise, but for five kids still in high school at the time, it's quite an accomplishment. Early songs were packaged in limited run demo tapes with accompanying zines and hand-dyed t-shirts. Weekends were filled with regional runs of shows outside of their Fairfield, Connecticut homebase. With this amount of effort it's no wonder that within a few years of graduation, Anxious has built a solid foundation for their debut album to flourish upon.On Little Green House, Anxious explores what it feels like to enter adulthood in unflinching detail. The Connecticut band unpacks struggles, joys, and hard-earned realizations in a way that makes them feel wise beyond their years. Anthemic songs like lead single "In April" and guaranteed sing-along "Growing Up Song" thread the often difficult melodic-hardcore needle in a way that feels both nostalgic for the emo renaissance of yesteryear and precisely built for the current moment of genre defiant pioneering.

For Patricia Kaas' her sixth album Dans Ma Chair, she went to New York to work together with the successful producer Phil Ramone (Ray Charles, Billy Joel, Paul Simon), Lyle Lovett and, for the second time, James Taylor. With Taylor, she recorded the duet ""Don't Let Me Be Lonely Tonight"". Two singles from the album received silver status, ""Je voudrais la connaître"" and ""Quand j'ai peur de tout"". The latter was written by Diane Warren and later succesfully translated and covered by Sugababes as ""Too Lost in You"". The album went to #1 in Belgium and reached the Top 10 in Finland, French, Germany, and Switzerland. Dans Ma Chair is available as a limited edition of 1000(?) individually numbered copies on red coloured vinyl and includes an insert.

Daniel Hope's latest album "Irish Roots" embodies his deep connection to Ireland, which he inherited from his paternal great-grandfather who left Waterford for South Africa in the 1890s. Although he has never lived in Ireland, Hope's fascination with Irish culture led to the making of the documentary "Celtic Dreams: Daniel Hope's Hidden Irish Story".

Supported by musicologist Olivier Fourés and experiences with the award-winning Irish band Lúnasa, Hope explores the interplay between folk and classical music. "Irish Roots" reflects this journey, presenting compositions by Ina Boyle and Turlough O'Carolan alongside classics such as "Danny Boy" and Vivaldi's L'estro armonico concertos.

Daniel Hope is joined on his new album by a stellar line-up of guest artists including Lúnasa, harpist Siobhán Armstrong, flautists Sir James and Lady Jeanne Galway, singer Rea Garvey, multi-instrumentalist and folk musician Ross Daly, fellow violinist Simos Papanas and the Thessaloniki State Symphony Orchestra conducted by Daniel Geiss

Emerging from the vibrant Leeds DIY scene, Pop Vulture wield influences from the dissonance of the No-Wave movement and the unconventionality of post-punk and drape them over tightly-wound grooves. All of this simmers away underneath stream-of-consciousness narratives, often of mental health and the relentlessness of living. Having received radio support from Steve Lamacq, Emily Pilbeam and Jericho Keys, as well as sharing stages with Yard Act, English Teacher, KEG and DITZ, Pop Vulture’s “potential is tantalising”, as noted by Louder Than War. Performances at Long Division, Live at Leeds and In Colour festivals have spotlighted the band’s “angular rock with a heavy dose of percussion”. The debut EP from Pop Vulture sees them pushing the boundaries of guitar music. This EP is a culmination of musical tastes. From the rowdy, driving nature of punk and its commentary on social issues, to the pulsing flirtatiousness of electronic music, and experimental edges of alternative rock. ‘Another Success’ sees an eclectic mix of songs inspired by the post-brexit mindset of Britain along with self reflection of mental state. It has a distinct and tasteful soul to it leaving behind thought provoking notions and romanticised ideals.

There's not much to add, two of the greatest Heavy Psych bands of the scene join the forces to give birth to an incredible Split Album. Packed with 32 minutes of the highest quality heavy rock you can find out there; a joint venture which can happen only once every 100 years!! Heavy Psych king-pioneers Nebula bring to life three brand new songs, recorded expressly for this incredible project. Three new gems which follow their latest "Holy Shit" and "Transmission_." Black Rainbows add in three songs of their own, handpicked from the recording session of their latest success "Superskull", released back in 2023. Delivering two Stoner in-your-face Heavy Fuzz pieces and one Heavy Space tune to celebrate this awesome collaboration!! The cover art pairs perfectly with the vision and vibe of the album and is credited to the mighty Simon Berndt.

Yellow vinyl, limited to 400 copies. There's not much to add, two of the greatest Heavy Psych bands of the scene join the forces to give birth to an incredible Split Album. Packed with 32 minutes of the highest quality heavy rock you can find out there; a joint venture which can happen only once every 100 years!! Heavy Psych king-pioneers Nebula bring to life three brand new songs, recorded expressly for this incredible project. Three new gems which follow their latest "Holy Shit" and "Transmission_." Black Rainbows add in three songs of their own, handpicked from the recording session of their latest success "Superskull", released back in 2023. Delivering two Stoner in-your-face Heavy Fuzz pieces and one Heavy Space tune to celebrate this awesome collaboration!! The cover art pairs perfectly with the vision and vibe of the album and is credited to the mighty Simon Berndt.

Originally released in 2013 and previously unreleased on vinyl, we are proud to present the 3rd volume in the Piece Maker series by legendary DJ Tony Touch. Featuring an incredible line up of MC's that includes Busta Rhymes, Reek da Villain, Roc Marciano, Lil' Fame, Too Short, Xzibit, Kurupt, B-Real, Papoose, Uncle Murda, Black Thought, Styles P, Sheek Louch, Jadakiss, Raekwon, Ghostface Killah, RZA, Eminem, Twista, Bun B, Action Bronson, Prodigy, Joell Ortiz, Royce da 5'9", KRS-One, Crooked I, Redman, Method Man, N.O.R.E. and Erick Sermon among others.

Going solo while still keeping intact his devotion to RS Produções, Nuno appears as a true heartbreaker. Silky, space soul, why not even risk the patented future r&b? But this music exists and manifests itself apart from the established production centres, the golden arches of hype edifices and synthetic promotion regurgitated by a thousand cloned fingers. "Sai Do Coração" is a very brave, romantic improbability, shying away from DJ bravado and dancefloor top speed. Through these grooves comes a pure distillation of love, an alchemical sublimatio resulting in the much sought-after "higher substance", a bright globe issuing rays of affection all around.

With love we most likely also buy into a degree of suffering, and though this is not at all the ID of the album, Nuno explicitly connects the two sentiments in "N'Dengue", a cathartic cold cut one grows to cherish intensely by the time it is over. It's a key moment, grief pours out, liberation achieved in the dance - "I will love, I will suffer, I will shout, I will dance". Flip to the other side for "Confusão No Ghetto", another gritty expression, a richly percussive, slow tempo observation of things gone wrong. All the rest in the album feels simple, direct and yet sophisticated like photosynthesis. Like the soil, through which geological becomes biological. Nuno whips up a variety of textures and flavours into the invisible form of Music, romantic fiction into action.

BOBBY ROBINSON was more than a fixture in hisNew York community, he had been an essential part of its lifeblood for over 60 years. Had he just been the proprietor of the first record store (and reputedly the first black-owned business) on 125th Street, he would have been important enough, but he also had an ear for talent, recording landmark music across four decades, always at home with the music of his neighbourhood, be it doo-wop, R&B, soul or even rap.

He was an entrepreneur involved in over a dozen different labels, sometimes on his own, sometimes with a partner, often with his brother Danny, and he was behind records that became internationally famous by Gladys Knight, King Curtis, Elmore James, Lee Dorsey, Wilbert Harrison and Grandmaster Flash. He made many more that were simply good, and this compilation takes aim at the great work he did as a soul and R&B producer during the 1960s and early 70s. It’s an introduction that shows the quality that he created had depth beyond the headline names.

“With their debut record, the merry order of musically miscreants from Los Angeles bring you their eccentric, eclectic, electric Polywave experience” The core members are: Neight Trion (The Black Angels, The Shine Brothers), Rocky (Death Valley Girls), Jay Eraser (Grooms, Roya), Oh-Ra (?) and Malware (Dead Meadow). Recorded and mixed by Jason Simon at Tekeli-li Sound. Mastered by Howie Weinberg "World Destroyers’ Pleasure Club is a musickal order formed during the great plague of the 20’s in Los Angeles in thanks to a constellation of fortuitous alignments. In the midst of the isolation that connected all people across the globe, in that unsettling quiet, a vision was obtained of community, ecstasy and revelry. The vision took on a life of its own as the band found each other and continues to propel the unit forward in their journey toward its realization. When asked to describe their strange, mutant music some fans and even members have found it difficult to do so. For this reason they have chosen the term Polywave as their designated genre which they envision as including other forms of expression besides music, a tendency to be hyper-eclectic and bearing the distinguishing mark of a commitment to continual, intentional self-transformation. WDPC has performed at venues such as Permanent Records Roadhouse, Zebulon, Lodge Room and more, both headlining and supporting artists such as The Intelligence, The Black Lips and The Nude Party. Nicknamed The Mysterious Party Band, they’ve been told they sound like a “Gospel Devo” by DJ Al Lover (Fuzz Club Records), and drawn comparisons to Talking Heads, The Fall, Butthole Surfers and Peter Gabriel. As influences they cite artists as varied as Hailu Mergia, Psychic TV, Scott Walker, Fela Kuti and Red Crayola but these influences don’t necessarily reveal themselves sonically as much as resembling the spirit in which they were conceived. Artist Neight Trion, the principal songwriter, spends as much time on the lyrics as composing the music, aiming for both to be strong enough to stand on their own. Membership includes a revolving and evolving collection of instrumentalists and collaborative mimetic entities but the core members are Neight Trion, singer/keyboards (The Black Angels, The Shine Brothers), Rocky, bass guitar (Death Valley Girls), Jay Eraser, guitar (Grooms, Roya), Oh-Ra, drums (?) and Malware, synth (Dead Meadow). Hailing from all across the US and Europe their operations are based in the Los Angeles area. Armed with their eponymous debut released by Blow Your Mind Records based in Santiago, Chile, they’ll be coming to a town near you and preparing the way for the coming Polywave. This is only the beginning, the first stages of metamorphosis. They invite you to join them in their pursuit of the communal ecstatic experience

Sheffield's hugely talented producer Hedge Maze lands on Selvamancer. Years in the making after a long search to decipher an unreleased tune from an unknown alter ego found online (title track Riding The Wave), we're excited to finally bring it to the masses. Morphed industrial violence, tearjerking post-dubstep-trap and the ruthless title track bounce off the walls. Let's commence! Face to the glass. "You use a mirror to see your face, you use a work of art to see your soul." G.B.Shaw... but if you stood with your breath appearing on the canvas what would you say to a Mane or a Rothko three inches away from it. As you push your nose up to the mirror of your soul, what to say to it in response. To listen to one's soul is to hear its depth, for it has many voices, but which voice to listen to. Fear be a man's best friend, he will accompany you should you wish. Forever on your coattails, a whisperer of half unseen truths: distorting perceptions. grief, illness, disappointment, pain, struggle, poverty, loss, terror, heartache, All to be feared. Yet, all features of a life lived! Courage then is simply to live and to live well, choose the voice that gives light. Throw the house out of the window so some say, throw yourself too, say I. Mark Warren. - written whilst listening to Strukku's Beat on Hedge Maze EP

Playa Bagdhad debuts in Boyanza Records with a heavy banger, straightforward track, that will bring dance floor energy to a maximum level. As the track goes by, Papa Jazz and DJ Bagdhad reminds how powerful house and dance music can be. A simple 808 to maintain feet stomping, a groovy baseline, fun vocals and a trippy trippy acid synth. A true peak time weapon.

DJ Support: Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche


Kicking things off on our next 4-track vinyl sampler series is Toolroom's very own Martin Ikin who returns to the label with ‘Make U Sweat’! He was the Best-selling Tech House artist on Beatport in 2020 and 2021 and has over 1m monthly listeners across streaming platforms. Recent studio collabs have included Noizu and Joshwa and tours have seen him travel far and wide to the US, Brazil, Bali, Ibiza, Italy, Croatia and of course, his hometown of London. This new record is the follow up to 'Oscill8' that dropped in March 2023 and sits in a similar lane, in that it's pure, unadulterated club weaponry! Next up is Italian house legend Flashmob with the frenetic, high-energy club vibe of new cut ‘My Body’. Flashmob's sound, production and go-for-broke DJ sets have changed with the game, embracing the vitality of new house music rather than hankering after sentimental sunsets. His ethic and aesthetic move relentlessly forward, using the old and new to craft unique sonic alchemy from big festivals like Tomorrowland to the intimacy of small clubs on the international circuit. ‘My Body’ is typical of Flashmob's current sound, combining solid drums and some insane synths and fx, alongside an earworm vocal sample that results in yet another memorable club cut from an established master. Canadian Tech House maestro Nathan Barato debuts on Toolroom kicking off the B-side to the vinyl alongside studio partner, Matheo Velez with 'Weapon'. A record that has already caught the attention of the underground elite with Michael Bibi premiering the track at his first appearance back at DC-10 in Ibiza last Summer. Both artists are enjoying great success across key labels such as Viva, Circus, Snatch and RAWthentic. This is an addictive, bumpy club track

that packs a huge punch on the dance floor and actually features Nathan's very own 'Move me… Rock me' vocals! Rounding things off is UK DJ/producer duo, Jenn Getz & Alfie who are residents at Dubai's #1 nightlife destination, Soho Garden, where they warm up for legends such as Sonny Fodera, MK, Claptone, Solardo & Fisher on a weekly basis. In their relatively short 3 year career they have already released on Solotoko, Abode and Toolroom Trax and now debut on Toolroom with 'Vibration'. Both girls are incredibly passionate about house music and are also big advocates for a life centered around well-being and meditation, and the idea of this record was to combine their 2 passions in life, so they proceeded to co-write these original lyrics to accompany the track, which in itself is very inspiring! This is a super cool club record that will excite fans and DJ's alike, welcome to the Toolroom Family, Jenn Getz & Alfie!

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

alphacut sets off into brushy tribal jungle

the early 2010s have been a prosperous era for a lotta fast dance and bass music. dubstep's magic was fading due to brosounds taking over but the idea of some fresh air inbetween drums and basslines was thankfully carried on into the jungles too. not only halftime but also tribal beats grew strong, whether it being in warm dubby or cold darker reincarnations.
speaking of living on, this plate is not only a sequel to that era but also a tribute to the one like morphy, who brought dubby tribal brushy jungle onto alphacut around that time. it light up a spark to head for new territories, its soul is vibing on in 45seven and especially in this new alphacut - post morphem!

rude operator are opening with a minimal dancehall feel, wriggling from 8bar to 8bar, switching tensions with patterns with a slice of footwork dna inside - zero chances to freeze!
rainforest is stepping on with enlightening skanks and mystic basses under a riddim one simply can't escape as well.
paradox effects is not only flipping sides but vibes pretty much too. keeping it tribal and one-seventy but much darker with an amen from the vaults in a bunker-conrete jungle - the raw and free sound of leipzig.
dreadmaul is closing with a masterpiece which could have been executed by the homaged dubbing don himself. moody pads meet distant dub sirens and robotic amen leftovers step up into a hypnotising groove, taking you back down in the woods.

we are happy to be back with a solid round-up package which should never leave your tribal crates again, zooom!

Intergalactic Noize Commander’s electrifying new EP blends elements of electro and electro-funk provoking a psycho dive into a cosmic journey. This sonic adventure unveils simple yet mysterious and dark sounds, transporting listeners to uncharted realms where pulsating rhythms collide with enigmatic melodies.

Experience a fusion of retro-futuristic vibes and captivating beats that resonate throughout the cosmos. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid GREEN vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany). Includes inmediate digital download.

F-BOMBS RECORDS has landed! A spin-off of the Foundations Series events that have been running across London the past 2+ years. Similarly to the Foundations Series events, the label will be a home of multi-genre artist releases with a nod to all the classic eras of UK dance music brought firmly up-to-date.

SWANKOUT has been moving at paces, riding the charts the last couple of years with releases for the likes of Hardcore Energy, Top Drawer Digital and Pete Cannon’s N4 Records - which saw his Swankout EP sell out of vinyl in just 24 hours! He’s also notably just remixed Shadow Child & Mark Archer’s “I know You” on UTTU’s sub-label Dancetrax and his forthcoming The Criminal Minds collab is gaining much hype.

Here Swankout demonstrates his diversity in taste and production style by lending his hand to UKG with the aptly named “The Speed Garage EP”. A 4-tracker that imbues classic speed garage, with rumbling basslines, weighty breakdowns, gunshots and a hint of jungle. Heads will note the reference of lead track Rude Bwoy Monty to the original jungle don R.B. Monty.


F-BOMBS001 - SWANKOUT - THE SPEED GARAGE EP

A1. RUDEBWOY MONTY - Moody build-up into an unforgettable breakdown of police sirens and rising tension, conjures up memories of early morning raves and raids across London and the greater M25 perimeter.

A2. LOVE COMMANDS - A steppy dancefloor bouncer, pure summer vibes for the love dove generation.

AA1. GUNSHOT - All the elements of a classic speed garage stomper. Warped bassline, pitched/chopped vocals, gunshots and a lot of attitude.

AA2. APPROACH PHASE - Fasten your seatbelts and assume approach positions. A track that invokes a sense of nostalgia for dancefloors long gone.

"Two-pronged, remix attacks don't come much more exciting and potent than this... as here - thanks to our good friends at Nervous NYC - we're beyond hyped to bring you the legendary Masters At Work and Dave Lee on one single, fully weaponised package.

Putting their own, inimitable spins on Louie Vega's ˙Music Is My Life˙ - which features the unique talents of Unlimited Touch - we're treated to a pair of wonderfully complimentary, but no less idiosyncratic re-rubs from these two stalwarts of the scene.

With a production hand and artistic touch like no other - Masters At Work lead the way here, with their main remix. Characterised by that trademark looseness and deliciously warm, organic approach - their rework is awash with woozy psychedelia and layered so expertly, that getting lost in the music is both gloriously simple and an absolute pleasure. But no true Vega & Dope remix suite, would be complete without a bonafide Dub version. And for ˙Music Is My Life˙ - this sees the dynamite duo take proceedings down a distinctly more mesmeric and mood-laden path… one where the vocal is instead used as a powerful rhythmic weapon, and the star of the show, is a surreptitiously morphing and shape-shifting, delicately acid-laced synth lead.

Next up - having recently switched his attentions to productions under his own namesake - is Z Records' head honcho, Dave Lee. Snapping into life with its crisp and punchy drum work - what Lee's remix does share with that of the Masters is in the over-arching, tripped-out haze which douses proceedings. However - where his remix opts to stick its head well and truly above the parapit, is in it stylistic flavouring. As when it comes to slicing that genre cake, so to split the worlds of Disco and House perfectly down the middle - there's simply no one who does it finer.”

Sometimes music is supposed to feel weird and indescribable. It’s the moments of clarity within the dense, sonic mess that often feels the most satisfying. That’s the space that Earth Tongue occupy. At times, their songs are shrill and disorientating, other times their reverb-washed textures and instantly- familiar hooks can wrap you in a warm, loving embrace. The one consistent thread through their music, however, is the thick and all encompassing fuzz. Guitarist Gussie Larkin has become a master of the fuzz-smothered riff, and along with Ezra Simons’ off-kilter drumming, they’ve been sending punters into transcendental states since they began gigging in their home town of Wellington, New Zealand in 2016. Floating Being will be released this June 21st. The album was pieced together throughout their travels of Australia and Europe, with the finishing touches being added in their hometown. The album contains songs they’ve been playing live for the past year, and it captures the raw, primitive energy that exists within their live performance. Earth Tongue embrace the imperfections in their playing and recording - drawing influence from early 70s psych and prog rock. The last thing they wanted was to create a shiny, over-produced record - with that in mind, they recorded the drums to an old 8-track Tascam reel-to-reel in a friend’s garage in Melbourne. The result is a punchy, raw and fuzzy journey into psych-rock with songs that weave between melodic and jarring. Unexpected twists and turns leave the listener in a disorientated yet satisfying haze.

When the world's chatter is hushed to a whisper and emptiness replaces clutter, time falls away completely, exposing a vast, open canvas for the imagination fill with reflection, contemplation and abstraction. On their first collaborative album, released via Caterina Barbieri's light-year's label, Grand River and Abul Mogard gaze longingly into the abyss, capturing atemporality, splendour and tranquility with confident, impressionistic sonic strokes. Dynamic and poignant, 'In uno spazio immenso' balances on a knife-edge between booming, operatic grandeur and soft-focus simplicity, casting as much light on the subtle outlines and illusory rhythms as it does its dense, almost overpowering textures.

Berlin-based Dutch-Italian composer and sound designer Aimée Portioli, aka Grand River, has been evolving her unique musical language since she released 'Crescente' on Donato Dozzy and Neel's Spazio Disponibile imprint in 2017. A trained linguist, she uses her instrumentation and advanced processes to challenge cultural perceptions, portraying emotions and moods rather than fixed, visual images. Abul Mogard meanwhile is just one of veteran Italian producer Guido Zen's many aliases, and over a series of acclaimed albums for labels like Ecstatic, Houndstooth and VCO, he's muddled fiction with stark reality, shaking kosmische synth fantasies into post-industrial ambience and blissful shoegaze memories.

Whereas before all jamaican recordings were made for 7-inch single releases, this recording session was held to release the longplay album “The Best Of The Wailers“, the very first album by The Wailers, and the very first album in reggae at all.
Recorded before their involvement with Lee Perry but not released until 1971 this is The Wailers at their soulful best. The songs are simple yet powerful. There are great harmonies between Bob Marley, Peter Tosh and Bunny Wailer, and unlike their later releases with Island records the sound isn't embellished. Each and every song is memorable, they are all classics.

Exact Repro OF THE Original With 4 Bonus Tracks. Japanese country rock act Gypsy Blood must be heard to be believed. Released on Vertigo in 1971, their sole LP showed the group simply bursting with talent, Kiyoshi Hayami’s mandolin exceptional and the masterful soft-rock production courtesy of Miki Curtis; drummer Eiichi Tsukasa had earlier been in the Helpful Soul, organist Katsuo Ohno had been in the Spiders, and guitarist/vocalist Hiroaki Nakamura later played in Buzz with future YMO member Yukihiro Takahashi, while none other than Alan Merrill of ‘I Love R‘n’R’ fame completes the picture on piano. A beautiful album, and a very rare beast!

Loud UK Drum & Bass and Roots Ragga Jungle. Masterpiece for Master Peace Jamasky ! Mastering is louder than ever... The sleeve is wicked ! Enjoy the little Jamaksy special speech bonus on track 5...

In the late 90s, the bands that Mike Badger had been part of vanished in the rear-view mirror. The La’s and The Onset were no more. With a young family and his tin-can sculptures emerging as his primary source of income, the evenings in Allerton (south Liverpool) found him quietly strumming his acoustic guitar, careful not to disturb the sleeping children. Weekends often led to the Penny Lane Wine Bar and later to Henry Epstein’s residence, a haven for revelry after closing time. A place where acoustic guitars adorned the walls, and impromptu musical sessions unfolded. In the midnight hours at Henry Epstein’s house, Paul Hemmings conceived the idea of compiling an album featuring Mike’s new tunes, which seemed to carry a basic “pastoral” theme reflective of settled domestic life. Demos were recorded on a porta-studio, and the album, initially titled “Naked and Beyond,” was crafted with starkness and simplicity, adorned with selected embellishments contributed by associates who shared drinks and stages. Recording took place at “The Lab” studio just north of the city, utilizing a Teac 24 Track machine and the warmth of analogue recording. The studio featured an old Italian “Eko” acoustic guitar, a classical guitar, Louis Johnson’s cello arrangements, and Tommy Scott’s backing vocals. Once the core of the album was laid down, the journey continued to Anglesey, to Henry Priestman’s “Gossamer Dome” Studio, where a baby grand piano, Farfisa organ, and “Parrot” accordion were added to enrich the songs with colors, harmonies, and magic, all against the backdrop of a sea view. The front cover of the album was adorned with an objet d’art created from a spiraled frying implement, part of Mike Badger’s “Lost and Found” exhibition. As the need to release the album arose, Mike Badger and his collaborators established their own label, “Viper,” and secured a distributor. The album, titled “Volume,” reflected its creation – from its initial sound considerations to the organic body of work composed in recent years. The recording process, though thorough, embraced imperfections, as Mike Badger believed that completeness emerged from these flaws, giving the performance its distinct character. The spirit of the performance took precedence over perfection, resulting in a product that felt genuine, unfettered, and honest – created simply because it was meant to be made. Now the album turns 25 it is released on vinyl for the first time via Nine X Nine Records.

For fans of Pan Amsterdam, Edan, Homeboy Sandman, Sleaford Mods etc. Features the singles ‘Baby Don’t’ ft. Sonnyjim & Quelle Chris and ‘Space-Bar’ ft Pan Amsterdam. Blessing/curse. Division/unity. Love/hate. It’s in the context of a polarising 24-hour, digitised, globally connected world that NightjaR finds its wings. NightjaR being the nom-de-plume and smudged rainbow constellation of collaborative copy-and-paste sound-wrangling and hip-hop from Doves’ Jimi Goodwin. But it’s here and it’s Mala Leche. Mala Leche (Spanish: Bad Milk) is 16 tracks of beats and bars, vocals provided by some of the hip-hop artists at the very top of Jimi’s own, personal home listening lists and interludes that throw back and forth through eras and genres in sometimes playful, occasionally awakeningly abrasive styles.

Unavailable on all formats since the early 2000s, Alison Brown’s GRAMMY-nominated debut album SIMPLE PLEASURES was a leap forward for Scruggs-rooted banjo playing when it was first released in 1990. For the 2024 reissue, the original 8-track, 1” multitrack tapes were transferred at a resolution of 192kHz/36-bit, and remixed and mastered. The album was produced by David Grisman and includes guests included Alison Krauss (fiddle), David Grisman (mandolin), Mike Marshall (guitar, fiddle, mandolin), Matt Eakle (flute), Joe Craven (percussion) and Jim Kerwin (bass).

Double gold printed LP gathers all tracks from the acclaimed Dost 1 and Dost 2 released respectively in 2021 and 2022.

Derya Yıldırım & Grup Şimşek’s subtle and groovy Anatolian psych folk sound matches the powerful quality of the songs often led by Yıldırım’s sublime vocals and bağlama (Turkish lute). They captured a lively, unique piece of interpretation which connects to the meaning of ‘Dost’. “DOST is a friend, a comrade, a brother, a sister and even more than that. DOST is the connection to keep this life and world meaningful”. No doubt that with this project Derya Yıldırım & Grup Şimşek will bring sounds, people and emotions together.

SABÏRE has now returned in 2024 with a 15 track epic, self-styled "half-concept" album, "Jätt", 5 years in the making. SABÏRE began at the tail end of 2010 as an idea to have a band that played simply what came naturally on guitar to Scarlett Monastyrski with no set genre or category. Simply the natural music. Shortly thereafter, the concept grew to accompany that sound with a big show and distinctive stylisation. The biting and sharp sound production, along with their personal lyrics, birthed for them a label for their music: ACID METAL. Not to be confused with the mind altering substance, Acid Metal took its name from the concentrated corrosive fluid not unlike the blood of the Xenomorph in the Alien films. The instruments are awash with acidic modulation, "like a drop of acid in the dark." The lyrics all hold a tinge of biting realism that once realised by the listener, stings them like a droplet of acid resting upon their skin. To take their metaphor further, their distinctive production style let's stand apart from the rest of the "modern" sound that degrades the potentcy of many new bands. They call it "brick culture," because it all sounds the same. Concentrated acid burns all the way through anything solid leaving a hot trail behind it, like the band continues to do so with garnering the attention of the world of heavy music. Band leader Scarlett Monastyrski comments : " 'Jätt' is meant to be THE sound of SABÏRE. A monolith to what we stand for artistically. We wanted this album to be its own art piece rather than simply a collection of arbitrary songs, a really 'blue' coloured sound. The physical copies hold beautifully styled texts detailing the concept for those chosen songs, as well as small epistles to accompany each track," says . “ 'Jätt' is a “blue” sounding album; the colour. You may understand that more when listening to the album yourself. The cover of 'Jätt', “Dante and Virgil in the Ninth Circle of Hell” - Gustav Doré, 1861, could be seen through a symbolic lense in which the listener is symbolised as Dante, the artist as Virgil, and the bodies locked within the ice of frozen lake as the music surrounding them; we as the artist are shepherding the listener through the mire. This could be perceived like this, or you may just see it as an attractive album cover. “ "We put our heart and soul into this one and can't wait to give our Wild Ones and Acid Fiends what they've been so patiently waiting for

The new album from Lebanese-American musician Solpara, Melancholy Sabotage, marks his full length debut and return to Nicolas Jaar's Other People label. While it was recorded over Covid lockdowns, Jaar had been talking about wanting to back a Solpara full-length since he put out Swing. The album came to life while Solpara was living alone in a Brooklyn loft, collecting unemployment checks and viewing ample free time as the artist residency he'd dreamed of; he'd previously been forced to make music in odd windows between numerous jobs and the unmerciful pace of city life. Free from obligations, he would wake up early to take Arabic lessons online, read Tracey Thorn's autobiography, and skateboard the deserted streets, then come home and design sounds until he had a track that felt like it needed to be released. While this easy going lifestyle was peaceful in many ways, Solpara found more complex inspiration in the emotion that stemmed from participation in Black Lives Matter protests and the 2020 Beirut Port explosion, which rocked all of his extended family members in Lebanon.

Melancholy Sabotage explores the theme of sabotaging melancholy. Echoing sounds from the post-punk, trip-hop, and ambient genres, it is about sabotaging the cycle of melancholy and looking at this process without ignoring the sources that put it into motion. It may be compared to a rattling breaking free from retention, reaching states of dreamy euphoria while simultaneously acknowledging the sources of retention, viewed from above. The sources can be personal, political, or socio-economic. They are to be apprehended post-melancholy, after the sabotaging of the initial cycle of melancholy. In other words, it is about transcending melancholy and understanding where it came from with some distance. It may be beautiful and healthy to feel for a while, but how may one sabotage this cycle when it becomes paralyzing? Ultimately, this album is about feeling melancholy but also resisting it and naming the sources that initiated it.

"Time To Hold Better" points to neglect on both personal and group levels. "This Time Last Year" is a personal time capsule. "We Keep Us Safe" is about solidarity, autonomy, and care witnessed within protest groups. "Melancholy Sabotage" is a sonic exploration of the album concept illustrating anger and sadness, but finally, resistance and liberation from these feelings. "Measures" is a more fluid exploration of the latter after the initial storm has passed. "We Don't Owe" points to bigger bodies inflicting harm on populations that we owe nothing to. "Breaking Points" harkens the times that we may lose focus while pushing to transcend melancholy. "Eviction" is about being pushed out of a space unwillingly while simultaneously being forced to move forward.

Melancholy Sabotage pulls from a range of genres, uniting electronic sounds under the same post-punky glow. It pulls from complex, heavy themes including damage and injustice, presenting Solpara's most moving body of work to date. It highlights the poignance that has always been at the heart of his fluid sound, which caters to dancefloors and avant-garde spaces in equal measure. Working with a mix of dissonant guitars, distorted drum machines, and distant, reverb-washed vocals, Melancholy Sabotage is Solpara's uneasiest outing to date. The record pinpoints the duality at the heart of Solpara's sound, which is as plaintive as it is searing.

Gabriel Birnbaum cuts straight to the spiritual essence of the characters he inhabits, painting affecting and lovingly drawn scenes bolstered by cathartic hooks. Like one of his own espoused patron saints, Paul Simon, Birnbaum sets new challenges for himself with each recording, honing the nuts and bolts of his songcra and pinpointing unexpected new aesthetic contexts for it. The lush and psychedelic folk-rock songs on his new album Patron Saint of Tireless Losers confidently cut to the essence of his artistry, highlighting a mature narrative voice, and a consistently surprising musical syntax. As much as anything Birmbaum has put into the world, it's a tour de force that thrives on both self-assuredness and restlessness_marks of a crucial and constantly evolving artist whose work it's impossible to turn away from once you tap into its frequency.

THE OMEGA SWARM, eine atmosphärische Death-Metal-Band aus Deutschland, begann im Jahr 2022, sehr bescheiden, sehr zurückgezogen. T., der bereits vier großartige Alben mit Sulphur Aeon veröffentlicht hat, hatte keinen vollwertigen Live-Act im Sinn, als er frühe Demos komponierte und das Skelett seiner - damals noch namenlosen - neuen Kreatur formte. Im Herzen ein wahrer Schöpfer, umarmt T. die akribische Arbeit an Riffs, Tönen, Klängen, den abenteuerlichen Geist des Aufbaus und der Verwirklichung von Ideen, das Experimentieren mit seinen geliebten Gitarren und Synthesizern, um erstaunliche Vibes und Songs zu produzieren, die bedeutungsvoll und doch extrem, melodisch und doch hart sind und sich in THE OMEGA SWARMs Debütalbum vereinen, einer Platte, einem Zeugnis, das der Essenz der Kunst selbst gewidmet ist.

So bodenständig T. auch ist, er ist nicht der Typ Mensch, der sich an eine Klangformel hält, er sucht nach "etwas mehr", "etwas anderem". Nachdem Sulphur Aeon mit dem monumentalen "Seven Crowns and Seven Seals" von 2023 vorerst abgeschlossen haben, was sie ausdrücken wollten, sind THE OMEGA SWARM jetzt sein Hauptaugenmerk, und das Line-up der Band, das von Sänger Christian Schettler (bekannt durch seine Arbeit bei den Labelkollegen Wound) und Schlagzeuger Max Scheefeldt (ex Misanthrope Monarch) komplettiert wird, passt perfekt zusammen. Musikalisch entstanden THE OMEGA SWARM aus T.s Experimenten mit rhythmischen Mustern, übereinanderliegenden Synthesizern, ausgefeilten Leads und etwas technischeren Riffingstrukturen.

Die wohl einzigen offensichtlichen Parallelen zu Sulphur Aeon sind die Betonung einer dichten, fesselnden Atmosphäre, epische Elemente und eine übergreifende Dunkelheit sowie die Erkenntnis nach der Fertigstellung der ersten Aufnahmen, dass auch THE OMEGA SWARM die Qualität besitzen, mehr als nur ein 'Schlafzimmerprojekt' zu sein.
Aufgenommen in den Studios von Feire Records und s/w records, gemischt und produziert von Langzeitpartner Simon Werner, wurde V. Santura (Triptykon, Dark Fortress) für das Mastering angeheuert und sorgte für den letzten Schliff von "Crimson Demise", einem Album, das stolz und mühelos zwischen Death und Black Metal changiert und von einer herausragenden Gesangsleistung abgerundet wird, bei der Chris eine ähnliche Bandbreite an Growls, Screams und cleanen Parts erreicht wie Peter Tägtgren in seinen besten Zeiten.

Vom Konzept her verzichtet die Gruppe auf uralte Lovecraft'sche Schrecken und wendet sich stattdessen geradlinigen apokalyptischen Themen zu. Ob Viren, bösartige Bakterien, verrückte Diktatoren, Klimawandel, religiöse und politische Ideologien, korrupte Technologie, Terrorismus oder Krieg, die Menschheit hat sich selbst für den Untergang gezeichnet - in leuchtenden Neonfarben, damit selbst eine außerirdische Spezies, die Galaxien entfernt ist, erkennen kann, was für Narren wir wirklich sind. "Die Menschheit kann sich nicht auf eine gemeinsame Wahrheit einigen, geschweige denn auf eine Strategie zur Lösung ihrer mannigfaltigen Probleme", erklärt Chris, "und bildet somit überhaupt keine Einheit. Der einzige gemeinsame Nenner, der uns alle eint, ist unsere Zerstörungswut, die irgendwann die gesamte Existenz der Menschheit gefährden könnte. Die Utopie wurde durch dystopische Szenarien ersetzt. Welche Formen des negativen menschlichen Verhaltens uns und die Gesellschaft derzeit beeinflussen und letztlich in eine zukünftige Endzeit führen, ist Teil des lyrischen Konzepts von THE OMEGA SWARM."
Aber keine Angst, bevor die Weltuntergangsuhr zum letzten Mal schlägt, soll euch das Vergnügen vergönnt sein, ein abwechslungsreiches, intensives und fesselndes Stück Metal zu erleben, das das neu formierte Trio aus dem Schlafzimmer auf die Bühne bringen will!

"The Coroner's Gambit" wurde ursprünglich im Oktober 2000 veröffentlicht. Fünf der sechzehn Songs wurden im Studio von Simon Joyner in Omaha, Nebraska, aufgenommen, fünf weitere in John Darnielles Haus in Colo, Iowa, und der Rest in Ames. Das Album entstand langsam; die Mountain Goats hatten von von 1991 bis 1998 jedes Jahr Musik veröffentlicht, aber zwischen der Veröffentlichung der "New Asian Cinema" EP und "The Coroner's Gambit" verging das Jahr 1999 ohne eine offizielle Mountain Goats-Veröffentlichung. Die zusätzliche Zeit, die "The Coroner's Gambit" in Anspruch nahm hatte sich gelohnt: Es war ein Durchbruch für Darnielle als Songwriter und als Produzent des kompletten Albums, der sich als Gitarrist und auch stimmlich weiterentwickelt hatte. Seine Charaktere sind hier scharf gezeichnet, die makellose Überlieferung der Welten, in denen sie leben, bieten ihnen etwas Schutz vor dem Sturm. Die Mischung aus Heim- und Studioaufnahmen verleiht The Coroner's Gambit ein mitreißendes Gefühl der Unmittelbarkeit und deutete gleichzeitig in eine Zukunft, die die 2002 mit "All Hail West Texas" und "Tallahassee" anbrechen sollte. "The Coroner's Gambit" ist ein eigenständiges Meisterwerk, ein introspektives Epos, das Darnielles Ruf als einer der größten Songwriter unterstreicht, dessen Talent für bekenntnishafte Fabulierkunst nur wenige Rivalen kennt. In den Jahren nach der ursprünglichen Veröffentlichung von "The Coroner's Gambit" wurde es schwierig das Album in seiner Gesamtheit zu erfassen. Die LPs waren damals in einer Papiertüte untergebracht, bedruckt mit zusätzlichen von Darnielle verfassten Liner Notes. Eintausend Vinyl-Exemplare wurden herausgegeben und glaubt man den Berichten aus der Sammlerszene, haben weit weniger als eintausend dieser Papiertüten überlebt. So existiert der Text heute hauptsächlich durch Flickr-Alben und auf Fanseiten weiter. Die Neuauflage von 2024 kommt mit neuen Texten und Liner Notes von Darnielle für sowohl CD als auch LP.

HOMESHAKE ist das Projekt des kanadischen Home-Producers Peter Sagar, dessen Sound halluzinatorisch und herzzerreißend in seinen Schreien nach Verbindung ist, strukturiert, tiefgründig, auf einzigartige Weise seine vielfältigen Einflüsse würdigend. "Horsie", das siebte HOMESHAKE-Album und das zweite in 2024, vertieft Sagars Beziehung zu Einsamkeit und Angst und untersucht diese Themen im Kontext von Live-Auftritten. Die 12 Songs verwenden von Künstlern wie Four Tet und My Bloody Valentine beeinflusste Texturen, die rhythmischen Formen von D’Angelo und Sade sowie Ambient Americana-Momente im Stile Ry Cooders.
Following March's CD Wallet, HOMESHAKE presents his second album of 2024, Horsie. Written and recorded at his home studio in Toronto, it explores Sagar’s complicated feelings about returning to live performance. Deepening his relationship to loneliness and anxiety, the record examines those themes in the context of touring.

Horsie employs various textures influenced by artists like Four Tet and My Bloody Valentine, the rhythmic forms of D’Angelo and Sade, and moments of ambient Americana found in the works of Ry Cooder. The cornerstone pieces of gear used were an Ensoniq EPS and Roland Juno 60, though the album also employs a great deal of electric guitar, along with his beloved SP-404. He maintains a philosophy of “less is more,” finding the simplest route from one point to another.

HOMESHAKE, the musical project of Peter Sagar, is an expression of adjustment and contortion within the world as he experiences it and the sounds he wants to hear in it. Hallucinatory and heartbreaking in its cries for connection, Sagar’s sound is often imitated but has proven to be entirely his own; textural and profound, uniquely honoring his diverse influences but adrift within its own transportive imagination.

Flunk's third ordinary album 'Personal Stereo' was released in 2007.

The album "Personal Stereo" is similar to the first two ("For Sleepyheads Only" (2002) and "Morning Star" (2004)) in that it is centered around Anja's elf-like vocals over Ulf's programmed electronica and Jo's layers of guitars and other stringed instruments. And even if uplifting melancholy is still the Flunk trademark, and Anja sings more beautifully than ever, "Personal Stereo" is in some ways darker than its predecessors. But it also sees a return to the debut album notion of cutting and pasting from the last 30 years of popular music, sometimes in an obvious way (as on the title track and "Change My Ways"), other times as more obscure nods to Flunk heroes. One of them, cult favorite Daniel Johnston, contributes with vocals on "Haldi".

As usual, Flunk's "budget pop" is recorded and produced in its entirety in bedrooms in two different apartments in Oslo, at Ulf's and Jo's.

The album has not been available on vinyl. Until now! It will be printed in a limited run of 200 copies.

Through the folded sky to America

Ten albums in three years. That's still the cosmic mission of the Berlin post-kraut trio YELKA with Daniel Meteo, Christian Obermaier, and the namesake Yelka Wehmeier.

With the album "For," there was a Label change. After releasing three albums in 2023 with Maurice Summen, head of Fun In The Church they passed the label responsibilities to Karaoke Kalk. Karaoke Kalk is a friendly label founded in Cologne known for establishing the Berlin post-wende scene (fall of the wall scene).

The trio's fourth album was also created with Arne Berger at Popschutz Studio, and the team is definitely well-rehearsed. Instead of recording the planned tracks, the band decided to improvise the session, and all tracks, except for the krauty Doors cover "The Crystal Ship," were created in 5 days in the studio, mostly on the first or second take, but with significantly more overdubs - keyboards, backing vocals, second and third guitars, percussion, and piano. The sound of "For" has become warmer, and the album begins with a kind of 60s-Kinks feeling. Overall, the current record has become much more exuberant - like Alice in Wonderland, YELKA seem to want to restore innocence to things in the opener "Smile (Into Skies)," resulting in an uplifting hiking song for experimental outdoor bohemians.

The follow-up piece "The Boar" speaks to everyone from the north, south, west, and east and here YELKA encounter a horde of wild boars on their travels, before the vocals become hardly understandable and ghostly spooled in reverse, suddenly sounding like Damo Suzuki from CAN at the height of Tago-Mago times.

Finally, YELKA‘s "Crystal Ship," simply sails away with the wild boars into remote 4D worlds between the Cocteau Twins and X-Mal Deutschland.

In the first instrumental of the album "Is this enough?", the band reverse tracks like Jimi Hendrix in his Electric Ladyland, and we dive deeper and deeper into the endless sky until YELKA finally arrive on newly trodden sound paths with "MM" to their beginnings on their debut album "Nowhere Jive." At the popular intersection of post-rock and jazz, where guest singer Bela Hagel also likes to linger for a moment: "Sie wissen" (They know), he knows that too! Surely Rolf-Ulrich Kaiser would have had a lot of fun with his shamanistic singing on his "Kosmische Kuriere" label. The guitars sound like a desert, and the reverb reminds us of the expansive space in the opening track "Skies."

Finally, we land in Amerika, or rather, YELKA ponder the melancholic question of whether anyone still wants to travel to America with them, to the land of unlimited possibilities, the haven for artist souls all over the world. "Do you wanna dance?" Yelka Wehmeier finally asks, while a chorus in the best Sun Ra manner mantra-like repeats "Cold dogs, cool cats." The whole band sings. Everything sounds good.

Ein exzellenter Tribut an den Budapester Komponisten und Pianisten Stephen de Bastion, dessen Karriere in den 1930er Jahren grausam unterbrochen wurde, er aber die Schrecken überleben konnte. Kuratiert von seiner Enkelin Roxanne de Bastion, die - parallel zu ihrem Buch "The Piano Player Of Budepast" - mit diversen Musikern und dem Produzenten Simon Tong (Damon Albarn, The Verve) einen Schatz von Kassetten auswertete und die Stücke (teilweise auf Stephens Originalklavier in Berlin) liebevoll neu interpretierte. Entstanden ist ein zutiefst ergreifendes Album mit Stephens wundervoller Musik.

Tiny Habits were formed in Boston, MA by artists Maya Rae, Cinya Khan and Judah Mayowa. The three singer-songwriters met at Berklee College of Music and the band was born at the beginning of 2022.

They started out by sharing covers recorded in the stairwell of their dorm and posting them on social media. Focusing on beautifully intimate three-part harmonies the trio's enticing signature sound, offered exquisite, reimagined versions of songs from across a spectrum of styles and quickly drove them to viral success.

They received recognition and early support from artists as diverse as David Crosby, Marcus Mumford, Phoebe Bridgers, and Noah Kahan. Collaborations include work with Mark Ronson, JP Saxe and Lizzy McAlpine, who they supported on NPR’s Tiny Desk

Their debut EP “Tiny Things” was released in April 2023 and established them as one of “the” bands to watch in the year ahead.

In early 2023, the band opened for Gracie Abrams “Good Riddance Tour” across North America, followed by their own sold-out US “Tiny Tour” At the end of 2023, the trio opened for Noah Kahan on his “Stick Season Tour” across Europe, followed by a sold-out headline show in London. In January 2024, the band rejoined Gracie Abrams, opening for the Australian leg of her “Good Riddance Tour”. This was followed by a sold-out headline show in Melbourne and a performance at the Minetta Lane Theatre in New York with Kacey Musgraves. The New Yorker recently wrote a feature piece on the band, coining them “The Prodigies of Harmonies”.

Lenticular Sleeve / White Vinyl. When Jack Tatum began work on Life of Pause, his third full-length to date, he had lofty ambitions: Don't just write another album; create another world. One with enough detail and texture and dimension that a listener could step inside, explore, and inhabit it as they see fit. "I desperately wanted for this to be the kind of record that would displace me," he says. "I'm terrified by the idea of being any one thing, or being of any one genre. And whether or not I accomplish that, I know that my only hope of getting there is to constantly reinvent. That reinvention doesn't need to be drastic, but every new record has to have its own identity, and it has to have a separate set of goals from what came before." What came before: a rightfully acclaimed, much beloved display of singular pop craftsmanship. Tatum's dreamy, unexpected 2010 debut, Gemini, was written while he was still a student at Virginia Tech University. Its equally disarming follow-up, 2012's Nocturne, marked the first time he'd been able to bring his bedroom recordings into a studio, to be performed and fully realized with the help of other musicians. There has been a set of wonderfully expansive EPs in between_each hinting at new directions and punctuating previous ideas_but with Life of Pause, Tatum delivers what he describes as his most "honest" and "mature" work yet, an exquisitely arranged and beautifully recorded collection of songs that marry the immediate with the indefinable. "I allowed myself to go down every route I could imagine even if it ended up not working for me," he says. "I owe it to myself to take as many risks as possible. Songs are songs and you have to allow yourself to be open to everything." After a prolonged period of writing and experimentation, recording took place over several weeks in both Los Angeles and Stockholm, with producer Thom Monahan (Devendra Banhart, Beachwood Sparks) helping Tatum in his search for a more natural and organically textured sound. In Sweden, in a studio once owned by ABBA, they enlisted Peter, Bjorn and John drummer John Ericsson and fellow Swedish Radio Symphony Orchestra veteran Pelle Jacobsson, to contribute drums and marimba. In California, at Monahan's home, Tatum collaborated with Medicine guitarist Brad Laner and a crew of saxophonists. From the hypnotic polyrhythms of "Reichpop" to the sugary howl of "Japanese Alice" to the hallucinogenic R&B of "A Woman's Wisdom," the result is a complete, fully immersive listening environment. "I just kept things really simple, writing as ideas came to me," he says. "There's definitely a different kind of `self' in the picture this time around. There's no real love lost, it's much more a record of coming to terms and defining what it is that you have_your place, your relationships. I view every record as an opportunity to write better songs. At the end of the day it still sounds like me, just new."

Scoring the lives of small-time players, pimps, junkies, and prostitutes lurking around his simultaneously blessed and cursed existence, Wee mastermind Norman Whiteside lived in an entirely different Columbus than Capsoul's Bill Moss or Prix's Clem Price. Alternating between Stevie Wonder's dreamy soul and Sly Stone's druggy groove, You Can Fly On My Aeroplane bypasses Whiteside's everyday gritty street life reality, focusing instead on the airy sounds of fantasy and masquerade. Smooth, sexy, and synthy, You Can Fly On My Aeroplane is a peerless and sprawling psychedelic soul concept album and a sure'fire panty soaker to boot.

Repressed. In 2010, Madlib launched an ambitious series of releases known as the Madlib Medicine Show, which allowed

the prolific producer to release new material on a monthly basis. The series touched on all the genres Madlib digs, and that’s just about any genre you can consider from Jazz to Rock, Soul to Disco, myriad African musics, Brazilian and Reggae. On the 11th installment in series Madlib returned to his hip hop roots with Low Budget High-Fi Music. Featuring a run-down of regular Madlib collaborators who provide the Beat Konducta’s foil, it also included a hint of what was meant to come on the never-realized second Jaylib album, with a previously unreleased J Dilla collaboration.

ChôKô Enûma composition is a 170 BPM sweet captivating sparkling acid Hardtek tune exploring sweetness : Instead of getting more and more violent, it goes more and more Trance with its evolution... Rare kind of tune !

Statek composition is a roaring threatening acid tribal track, mental stable secret weapon.

This time again, Cult Collective deliver a super sound :
Mastered by StefanZMK
Cut by Simon Davey at The Exchange.
Visuals by Collision.
Pressed at records Industry.

Du grand Atomique ^^
Suprer skeud de Hardcore, vraiment une crème pleine de surprise, de changements, de fréquences qui t'emportent...
alors bien sûr c'est un commentaire en français pour changer parceque c'est Atomique Compresseur^^

Sans blague c'est une balle, tout simplement !

big up et à bientôt sur le "par-terre de danse" Monsieur !

2024 repress.

Five years ago, back in September 2016, Stefano Gentile published a photographic book entitled IL SILENZIO DEI TUOI PASSI (The Silence of Your Steps), which collected a series of 56 pictures, both in b/w and colour, dedicated to the nights in Venice. The book was a journey through the most remote "calli" and "campi" (streets, alleys and squares, as they're called in Venice) in search of the true 'breath' of the city, far away from the hordes of tourists who 'attack' it every day during daylight hours.

On such occasion, renowned musician Gigi Masin composed a 30 minutes epic ambient track entitled VENEZIA 2016 which was the perfectsoundtrack to the images included in the book. The track was published on CD and released bounded with the book itself in a limited edition of 480 copies only, and has been unavailable for years now.In 2021 Gigi Masin returned to that great piece of music and to its timeless sounds. Finally, Silentes can now offer PLAYS VENEZIA, Masin's latest work contanining a re-edited version of that 'pearl', accompanied by two unreleased tracks composed and recorded in the same period.

Once again inspired by the city, Masin created an enduring and wonderful ambient masterpiece, a sort of return to the origins, to his home. Adding to the intrinsic quality of the originals, the tracks were beautifully mastered by Brandenburg Mastering in Amsterdam. PLAYS VENEZIA is simply an unmissable release and one of Masin's greatest accomplishment in a long carrier that never ceases to amaze us.

* CASSETTE VERSION **
Five years ago, back in September 2016, Stefano Gentile published a photographic book entitled IL SILENZIO DEI TUOI PASSI (The Silence of Your Steps), which collected a series of 56 pictures, both in b/w and colour, dedicated to the nights in Venice. The book was a journey through the most remote "calli" and "campi" (streets, alleys and squares, as they're called in Venice) in search of the true 'breath' of the city, far away from the hordes of tourists who 'attack' it every day during daylight hours.

On such occasion, renowned musician Gigi Masin composed a 30 minutes epic ambient track entitled VENEZIA 2016 which was the perfect soundtrack to the images included in the book. The track was published on CD and released bounded with the book itself in a limited edition of 480 copies only, and has been unavailable for years now.In 2021 Gigi Masin returned to that great piece of music and to its timeless sounds. Finally, Silentes can now offer PLAYS VENEZIA, Masin's latest work contanining a re-edited version of that 'pearl', accompanied by two unreleased tracks composed and recorded in the same period.

Once again inspired by the city, Masin created an enduring and wonderful ambient masterpiece, a sort of return to the origins, to his home. Adding to the intrinsic quality of the originals, the tracks were beautifully mastered by Brandenburg Mastering in Amsterdam. PLAYS VENEZIA is simply an unmissable release and one of Masin's greatest accomplishment in a long carrier that never ceases to amaze us.

Compiled by legendary producer Arthur Baker, ‘Breakers Revenge’ is a near-definitive collection of original Funk, Soul, Latin, Disco and Electro classic tracks from 1970-1984. These tracks, a combination of classics and obscurities, have all since become legendary to Breakdancers everywhere.

First played at South Bronx block parties, community halls and park jams in the 1970s and 80s, spun endlessly by the first three major hip-hop DJs – Kool Herc, Grandmaster Flash and Afrika Bambaataa – and found in the record crates of any DJ of note ever since. Seminal funk and soul tracks such as Dennis Coffey’s ‘Scorpio’, The Jimmy Castor Bunch’s ‘It’s Just Begun’, James Brown’s ‘Get on the Good Foot’, The Mohawks’ ‘Champ’ sit side-by-side here with the ground-breaking, classic electro of Afrika Bambaataa’s ‘Planet Rock’, and Arthur Baker’s own definitive ‘Breaker’s Revenge.’ Breakdancing has come a long way from its New York roots to its respected position as an art form today where, for the first time ever, it is to be featured in the Olympics held in Paris this August 2024.

The ‘breakbeat’ remains at the very heart of hip-hop, the mercurial funk, soul and disco tracks, always 100% guaranteed to get B-Boys, B-Girls and Breakdancers moving at any block party, with the percussive breakdown of each track the pinnacle soundtrack to any dance/battle between Breakdancers of any note. Similarly these tracks have been sampled many 1000s of times over by every hip-hop artist and producer of note. KRS-ONE, Marley Marl, Kanye West, Jay-Z, Public Enemy, Eric B, The Fugees, Outkast, Mos Def, Main Source, Jungle Brothers, LL Cool J, De La Soul and, well, everyone!

Compiler Arthur Baker played a pivotal role in hip-hop history when in 1982 he produced Afrika Bambaataa’s seminal ‘Planet Rock’ (as featured here), introducing electronic instruments into hip-hop for the first time ever and in the process created electro. After ‘Planet Rock’, Arthur Baker went on to remix or produce every major artist of note – from New Order to the Rolling Stones, Al Green to the Pet Shop Boys

Long time Djoon club resident and one of Paris’ most prolific producers, Lucas Moinet (Groove Boys Project, Keraw, Projecture) makes his long overdue debut on The Djoon Experience. On the A side, the aptly titled "The Sounds of Deepness" (ft. Stupid Flash on bass) takes you on a raw & soulful journey - while the B side delivers two more 8mn long spiritual soundscapes, “Planet Earth” & “The Piano Ritual” - simply put, this lush, 3 track EP is nothing short of a deep house masterclass.

Ltd. Purple & Black Splatter Vinyl. It's been four years since Zach Saginaw, aka Shigeto, returned home to Michigan from a stint in Brooklyn, NY, and since then, the multi-faceted musician has become a part of the fabric of Detroit's music scene. While always having a personal approach to his projects, Saginaw's influences for his third album, The New Monday are more about the community of Detroit than anything else. Named after a weekly DJ event called Monday is the New Monday that Saginaw does at the unassuming Motor City Wine with a group of friends, The New Monday is the result of Saginaw diving into the city's deep record culture, where there legacy of artist's of the past help Saginaw embrace his own contributions. "It's focused on a couple things and they all kind of come together to represent dierent things," explains Saginaw. "My time back in Detroit, back living in Michigan and spending time with a lot of kind of original people who have always been here, learning from them, hearing stories from them, being influenced by them, and inspired by them." While, in the past, projects like Lineage or No Better Time Than Now were rooted in strong personal messages, family and relationships respectively, The New Monday represents a communal eort where solidarity is the key. Going for a simplified approach of just trying to make good tracks, The New Monday is diverse in its styles leaning more into a dance music direction - new ground for a Shigeto project. A new air of confidence in Saginaw has expanded his horizons since his return to Detroit, but traces of his past work will continue to be present. "I don't want people to think I'm leaving anything," says Saginaw. "I'm still me. It's a result of me being immersed in the culture, and inevitably making music that is influenced by that culture whether it be house, techno, jazz, rap. It doesn't matter. It's all coming from what I love about Michigan." While The New Monday still features the jazz textures long associated with Shigeto projects, the varied elements that make up the album cohesively come together to show the distinct inspiration that Saginaw has drew from since his return home to Detroit. Like on "Barry White", which features Detroit hip-hop artist ZelooperZ (a member of Danny Brown's Bruiser Brigade crew who Saginaw also has a side project with called ZGTO), Saginaw captures everything he's been doing all on one track. As much as it's hip-hop influenced, it's a mutant that encompasses elements of dance music, jazz, and ambient sounds. Throughout The New Monday, Saginaw poignantly references the musical influences that have either always been with him or newly discovered. It is Saginaw's interpretation of Detroit's rich culture of innovative artistry, but done so with respect for the history and to contribute, not disrupt. "I think over the past four years, I can confidently say that I found my place here," describes Saginaw. "I'm happy here and I feel that I have the respect from the people I need respect from, that I want respect from. It's all of the result of embracing it and embracing, not Detroit, but embracing community, embracing family,








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