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Three songs taken from Chip Wickham's spiritual jazz album Blue to Red get reshaped by Photay, Medlar, and Chip Wickham himself. The result is a lush ep, every bit as good as the combination of a wonderful original track and an uber-talented remixer could be.

Photay has deconstructed the peaceful Blue to Red to turn it into a bomb—a storming dance track that keeps the spiritual vibe intact. The extra beatless version soothes your ear while creating a certain sense of anticipation.

The original version of Interstellar blends fusion jazz with the sound of West London's seminal broken beat scene. Medlar has plucked the track apart, then rebuilt it by adding some extra perc and synth sounds to the bass-driven beats. The result is some deep and heavy and funky business.

And finally, Chip recovered a take of wonderful astral slow jam The Cosmos that didn't make it onto the album, one with no drums, and cooked up a roomy cosmic dub, full-on Space Echo.

It will be out in a limited transparent vinyl 12"

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

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

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

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

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

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

With their 2018 debut album, ”Windborne”, Oslo based trio Kanaan quickly established themselves as one of the most important groups in the youngest generation of psychedelic impro-rockers. As accomplished players – all three educated in jazz – they marry fiery energy with musical intricacy, and possess a rare ability to balance power and delicateness. They devote as much energy to exploring airiness and atmosphere as they do to intensity. On this set the trio join forces with Causa Sui guitar player and producer Jonas Munk, for a series of semi-improvised sonic excursions. Recorded in Jonas Munk's Odense studio, where most of the El Paraiso magic happens, the band explores a looser side of their sound. Jonas Munk joins on guitar on every track, and occasionally synths as well, unlocking new modal possibilities and a Grateful Dead-esque dual-guitar flow that suits the band well. These four tracks unfold in a panoramic slow burn, only occasionally exploding in blazing leads. They know just when to hold back and when to let loose. On the final track, ”Urgent Excursions To The Tundrasphere”, the four eventually let it all rip, creating a complete sonic meltdown. For fans of freeform psychedelic rock this is as essential as it gets.

Members of Papir & Causa Sui finalise Edena Gardens trilogy. True to El Paraiso fashion, Dens concludes a trilogy of albums, aptly spelling out the last third of the group’s name. And true to form, the band turns inwards rather than outwards, drawing on deep shades of ambient, slowcore, and the ghost of Mark Hollis. While maintaining their psychedelic edge, the trio weaves the lines between genres in a way that’s becoming a signature of its own. Never in a hurry, but always moving somewhere. Causa Sui drummer Jakob Skøtt & Martin Rude’s bass and baritone guitar lay out a robust yet fleeting foundation. Papir’s Nicklas Sørensen’s glistening guitar lines never felt more free and explorative. While The Durutti Column tribute Vini’s Lament is drenched in nostalgia, a cut like Morgensol (Morning Sun in Danish) explodes in Popol Vuh-esque gloomy euphoria. Engineered by Jonas Munk & produced by Jakob Skøtt, the album culls hours of free improvisation into a coherent size. Seamless edits and studio wizardry enhance the feeling of an almost narrative nature as the album progresses. Invoking anything from a crackling campfire, rattling bones, and the singing of sand dunes. The culmination lies in the 14-minute track Sienita. A fully formed blistering improvisation, abandoning any studio trickery, besides a singly dubbed organ, rising and falling like the tide.

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

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

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

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

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

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

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

Sloe Gin is the seventh studio album by Joe Bonamassa and originally releasedon August 20, 2007. The album re- teams Joe Bonamassa with producer Kevin Shirley (Joe Satriani, Black Crowes, Aerosmith, Led Zeppelin), who produced 2006's You & Me, which debuted at #1 on the US Billboard's Blues chart in June of 2006.

With 27 #1 albums, yearly sold-out tours worldwide and custom annual cruises, he's a hard act to beat. These albums are a testament to his credentials and a toast to his longtime fans who remember them originally and new fans who can experience them for the first time.

It's Joe Bonamassa at his finest, ready to rock

One of the very first compositions by Bruno Sanchioni (Age of Love, BBE), released in 88 just at the beginning of the New Beat phenomenon that marked the history of Belgian music.



Along with Confetti's and Amnesia, it was one of the most popular tracks of its time and marked the start of a long and promising career for Bruno Sanchioni. Just 2 years later, he composed the original bassline for the legendary track "Age of Love", which, thanks to Jam & Spoon's remix, was to stamp the electronic music scene for several generations. Based on video clash created by the visionary Lil'Louis, the original slow tempo was enhanced by the highly recognisable vocal "The Story" and a simple but highly effective melody. It was already remixed 10 years later by Viper, with a rhythmic pattern once again inspired by the Chicago pioneers.



25 years on, this track still evokes emotion and still inspires a good number of artists to want to touch it up, and for the track's 35th anniversary it seemed appropriate to pay it a vibrant tribute by offering several remixes split into two different vinyl projects. In a faster, more acid-influenced style, the first project features a remix by DJHS, Manu Kenton and Furax, emblematic artists from the north of France, and is completed by Viper's excellent 98 remix for those who haven't heard it yet. DJHS is behind the legendary acid track 'Spokesman', Manu Kenton is one of the flagship artists of the 'Ghoststyle' label and Furax is behind 'Big Orgus'.

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

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

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

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

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

Repress!

Supermercado: a mosaic, tangible, colourful to the point of saturaton, anchored in a very real present.
Behind the metaphor that gives the new album its ttle, Corridor examines modernity, takes on this transitonal transiton by looking at where it went wrong: pushed around by big data, apathy induced by oversaturaton, the speeding up of cycles, efort stripped to its bare minimum, physical detachment.
Afer giving the art-rock and jangle-pop treatment to their frst two eforts Un Magicien en toi and Le Voyage Éternel, Corridor stcks to its signature sound: upfront, dissonant guitars upheld by minimal beats and syncopated bass lines, yet also marks a new directon. Supermercado leans on repeated strong melodies, slow progressions, bolstered by two distnct voices, yielding a more hypnotc, sharper, and strangely, poppier result. Corridor recorded this new record in the hallowed halls of Montreal's Breakglass Studios, with Emmanuel Ethier (Chocolat, Bernhari, Peter Peter) assuming producton dutes.

As we continue the five part journey to say goodbye to the Telomere Plastic series we have Telomere 020.3 now available for preorder!
This five tracker VA, features producers, Hiroyuki Kato, Six Dreams, Ty Senrna Sherman C & Konerytmi!

We begin off the record with ‘Black from Hiroyuki Kato. This long play is over 9 minutes and is a beautifully structured deep & house tune. Perfect for your summer day time sets!

Next on the A2 we have ‘Static Es’ by Six Dreams, This moody minimal breakbeat tune is filled with heavy bass & lush chords, the perfect track to slow things down for a few minutes during your sets!

On the B1 we have Ty Senrna who delivers a whacky groover! This acidic tech tune will work wonders and bring the spooky & trippy energy to the dance floor!

B2 is a tripped out phat acidic break beat tune from the mighty Sherman C. With some tripped out vocals & classic Sherman breaks & bass, this one will get the dance floor rockin’ full speed!

Lastly, we close out the release with a classic tune from Konerytmi. As expected we are gifted with his signature electro & bass beats!

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

This fifth studio effort from French heavy psychedelic stalwarts MARS RED SKY is a genuine conceptual piece of work skilfully designed to take the listener on a journey through a shifting, unpredictable and even utterly disconcerting sonic universe. Bordeaux-based trio explore progressive and post-metal territories with boundless inspiration. Their original signature of jagged vocals and thundering rhythm is spiced up by drones and various mid-kraut rock and mid-gothic effects. The atmospheres and settings are finely crafted, with Julien Pras's voice adding a delicious pop languor. The music is the master of the narrative here, absorbing all the components of the album and shaping them into a kind of reversible allegory, as appealing as disturbing. The tour de force of 'Dawn Of The Dusk' lies in its ability to carve out a unique creative sphere in which you can't help but marvel.

This fifth studio effort from French heavy psychedelic stalwarts MARS RED SKY is a genuine conceptual piece of work skilfully designed to take the listener on a journey through a shifting, unpredictable and even utterly disconcerting sonic universe. Bordeaux-based trio explore progressive and post-metal territories with boundless inspiration. Their original signature of jagged vocals and thundering rhythm is spiced up by drones and various mid-kraut rock and mid-gothic effects. The atmospheres and settings are finely crafted, with Julien Pras's voice adding a delicious pop languor. The music is the master of the narrative here, absorbing all the components of the album and shaping them into a kind of reversible allegory, as appealing as disturbing. The tour de force of 'Dawn Of The Dusk' lies in its ability to carve out a unique creative sphere in which you can't help but marvel.

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

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

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

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

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

180g audiophile vinyl reissue of American blues guitarist Melvin Taylor's 1995 album 'Melvin Taylor & The Slack Band', which is appearing on vinyl for the first time with remastering by Cicely Baston at Alchemy/Air Mastering, London "The U.S. release of Melvin Taylor's two early-'80s LPs by Evidence a decade later was a shock introduction to a blues guitarist who seemingly blazed out of nowhere - outside of Rosa's Lounge in Chicago, that is. "Blazed" is the right word, too, because Taylor is a total maximalist who unleashes torrents of notes to fill up every space. But he's so convincing a player that the concept of "blues guitar hero" might get a good name again, even with fans dead- tired of excess who never thought they'd think things like, "Man, can Melvin Taylor play the ever-loving (add the expletive superlative of your choice) out of the guitar" again. Taylor's first real-time release, Melvin Taylor & the Slack Band, is a pretty straightforward affair - basic trio with minimal overdubs, serviceable vocals in an Albert King mode, and a mix of originals and very classic covers. The opening "Texas Flood" lets him rip on a slow blues, constantly changing up his playing with wah-wah blitzes as the real ace in his sonic hole. The originals "Depression Blues" and "Groovin' in New Orleans" add some funk flair, while "Talking to Anna Mae" is a straight- up Chicago boogie instrumental that Taylor shines on. But he's even more in his element on the unadorned slow blues "Tin Pan Alley" and King's "Don't Throw Your Love on Me So Strong." It's partly the speed but even more the phrasing - the unexpected stops and starts, the spiky and blazing runs and flurries, the unusual note selections he tosses in - that sets his playing apart. The other covers have their sporadic moments - "TBone Shuffle" is inconsequential, but Otis Rush's "All Your Love" and "Voodoo Chile" are worth listening to, even if the latter doesn't add anything to the famous Hendrix wah-wah workout. Taylor actually doesn't sound that radical here, like he was playing to establish blues circuit credentials by putting his stamp on familiar songs more than indulging offbeat personal touches like the mellow lounge jazz take on the Champs' "Tequila." But his playing can be truly electrifying and Melvin Taylor & the Slack Band is recommended for anyone, especially Stevie Ray Vaughan fans, looking for a distinctive new blues guitar voice." - Don Snowden, AllMusic Personnel: Melvin Taylor, guitar, vocals / Willie Smith, bass guitar / Steve Potts, drums Recorded and mixed on March 27-30, 1995 at Dockside Studios, Maurice, LA

Whisky soaked, nocturnal, brooding. Aging’s album »Troubles? I Got A Bartender« was a noteworthy, film-noir infused suite that quietly slipped out on cassette in 2015 by a then budding Manchester avant-jazz ensemble, led by David McLean.

In 2020, amidst the pandemic’s tempest and winter's gloom, the idea manifested of showcasing McLean’s slow burning, wistful soirée in a new light via a curated effort by Berlin’s Vaagner label, which invited a series of hand-picked artist to rework selected compositions from the album, rendering its mournful, smoke-tinged resonances into new shapes.

Its result is »Reworks (Rewoven)«, and it presents 6 new interpretations by 5 artists. These range from ruminating, tape smudged ambient works interlaced with sublime acoustic strums by fellow Manchester musicians The Humble Bee and Tape Loop Orchestra, to poignant steel guitar renditions by Nashville based Kelby Clark. Furthermore, Barcelona based Dania and London based Laila Sakini, each present pieces that draw the listener into opaque realms harbored by swooning reverie and eerie, glistening prophecy.

Carefully assembled across two sides of vinyl, McLean’s penchant for hard-boiled detective novels, vintage Japanese crime flicks and film noir iconography have a continued lurking presence in the reworks, yet the new pieces each add a modern facet to the original’s cinematic narrative, its morose and sulky mood now opening into new avenues of interpretation. And whilst some artists have chosen to dive further into the themes of contentious ambivalence and pensive solitude, others have sought to slightly lift the haze, stirring up melodies tinged with a sense of hope, hinting at times, towards instants of poise and vivacity.

In the end this leaves us with a new body of work that manages to feel poignant in its complexity whilst remaining dissonant and elusive in its renditions, hinting at a modern day existence even more opaque, intricate and convoluted than the film noir classics of old might have pictured the world.

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

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

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

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

Diffrent Music roars back into action after an extended hiatus to raise a couple of young giraffes with the electrifying new compilation, ‘Revolution Of The Giraffe’ LP.

Launched in 2010 with the aim of bringing something new to a drum & bass scene that had become overly formulaic, the label has continuously pushed in new directions, often incubated tomorrow’s stars, and evolved beyond even that original grand ideal. ‘Revolution Of The Giraffe’ unleashes 17 tracks of bleeding-edge electronic music, proving that after 13 years, Diffrent still sounds like nothing else.

Core artists from the label’s distinguished history bring their expertise, such as drum & bass mainstay Arkaik and sound architect Fearful, who team up with label boss Dexta for the MC GQ-sampling ‘Old Skool’ — a new track with a classic Diffrent sound. And there are numerous debuts: A.Fruit reworks an all-time Diffrent classic, ‘Boxgroove’ by Dexta & Hyroglifics, into a glitchy halftime stomper; none60 bosses Silent Dust turn Dexta’s ‘SE4’ into a rebellious dancefloor juggernaut; and the mysterious Gaunt’s ‘Firefloor’ becomes locked ‘n’ loaded rave artillery in the hands of Pepsi Slammer.

Label stalwart Mauoq puts his signature psychedelic future dub spin on ‘Departed’ by Cuelock, who in turn delivers the ice-cold, grime-indebted ‘Pages Of Snow’. Lakeway conjures the epic ‘Even Though’, nearly eight minutes of ecstatic, spell-binding, hyper-rave wonder. Dexta goes solo with squelchy techno jungle stormer ‘Giraffes On Acid’. Even Sense MC makes an… appearance.

New-gen Diffrent acts are in fine form too. The inimitable BrandNewTrumpets opens the album alongside Macc; ‘We Are The Tightrope Walkers’ is a powerful spoken word piece that erupts into a hail of punishing breaks. No Nation, Sheba Q and BK Balance, meanwhile, turn out explosive, hi-tek junglism on ‘Too Late’. From Diffrent’s industrial-toned sister label Are We Really Alone? (A.W.R.A.), Amir De Bois joins forces with Fearful for the paranoid, jittering ‘73’; Tokyo’s Itti summons thunderous bass on the ritualistic ‘Rumbling’; and Croatian artist Spaj.A.S.E.’s competition-winning, mind-mashing remix of the first ever Diffrent release, ‘Everyones Mad’ by Chills, finally sees the light of day.

Always looking to the future, Diffrent also welcomes modern jungle visionary Eusebeia, who puts his ethereal touch to Crypticz’s ‘Could Have Been’, and Stateside up-and-comers Illexandra & TGRbass, who deliver the supercharged, elastic bounce of ‘Swampy Swami’.
Closing out with one from deep within the vaults, ‘Aftaparty’ is Beezy and MNTX’s ode to seeing where the night takes you. It’s a fitting note to end on, as a new era of Diffrent Music begins. Where will it take you? Join us on the ride and find out.

"I've loved every moment of the label so far: the fast-paced release schedules, the slow years, the podcasts, albums, singles, EPs, parties, etc. This compilation album signposts where we are at — a bunch of classic Diffrent artists, a load of new faces, and a few remixes thrown in for good measure. Each tune stands alone, but stands tall next to each of its siblings. I hope you all enjoy it as much as we have! The revolution is here, join the revolution!"
- Dexta

LVE1 is the highly anticipated debut EP from East London’s Liv East – a 5-track collection of neo-soul & R&B infused cuts that follows a string of prolific R&B influenced releases, including her much loved collab with in-demand French funk aficionado Folamour & ‘You’re My’ on Defected’s well known disco label Glitterbox.

‘FREAK’ & ‘LVE UNLIMITED’ nod to Liv’s connection with the dancefloor, her silky soul vocals sewn through beatdown edits that would suit the slower moments on the dancefloor. While ‘You Got Me’ swings to a 2-steppin back-beat of funk grooves & popping basslines. Alongside these brand new originals are two hypnotic bonus tracks ‘So Badly’ and ’So Badly (Kid Fonque Remix), available for the first time on vinyl.

PRESSED ON "DRIED BLOOD" RED
COLORED VINYL W/OBI
LIMITED TO 1000 COPIES

In the late 90s in Hip Hop, all eyes were on the South - and the Down South sound reigned supreme. Few groups were as hot as Memphis’ Three 6 Mafia. CrazyNDaLazDayz was a regional scorcher when it dropped in 1999, released under the group name Tear Da Club Up Thugs, but essentially a Three 6 Mafia full-length as core Three 6 members DJ Paul, Juicy J and Lord Infamous all contribute to the project. The record went on to be certified Gold and Three 6 Mafia went on to win an Academy Award for their contribution to Hustle & Flow. CrazyNDaLazDayz continues to have an impact to this day. A cut Juicy J first pulled together while still in high school, “Slob On My Knob”, was utilized in A$AP Ferg’s hit “Plain Jane.” In addition, the cut is interpolated into G-Eazy’s most successful cut to date, “No Limit.” Get On Down brings you this often overlooked and definitely in need of being revisited portion of Three 6 Mafia’s legacy.

Ltd Edition! Augustus Muller (Boy Harsher) kündigt die Filmmusik für den Film My Animal an, unter der Regie von Jacqueline Castel feat. Amandla Stenberg (The Hunger Games, Star Wars) und Bobbi Salvör Menuez (I love Dick, Something In The Air).
Die Filmmusik ist Mullers Debüt als Spielfilmkomponist.
My Animal (Premiere auf dem Sundance Film Festival 2023), Drehbuch von Jae Matthews (Boy Harsher), erzählt die Geschichte von Heather, einer starken, aufmüpfigen jungen Frau, die in einer ländlichen Stadt im Norden lebt und unbedingt in der örtlichen Hockeymannschaft spielen möchte. Sie lernt Jonny kennen und verliebt sich in ihn, einen Eiskunstläufer, der neu in der Gegend ist. Ihre Beziehung gedeiht trotz Heathers versteckter persönlicher Probleme mit ihrer alkoholkranken Mutter, ihrer nicht akzeptierten sexuellen Orientierung und einem familiären Fluch, der sie, ihre Zwillingsbrüder und ihren Vater einmal im Monat in wilde Wölfe verwandelt. Das Stelldichein von Heather und Jonny gerät bald in Konflikt mit ihrer kleinen Gemeinschaft, bringt die Wahrheit ans Licht und führt zu einer leidenschaftlichen, gewalttätigen Nacht der persönlichen Verwandlung. Augustus Muller schrieb und nahm die Filmmusik in seinem Heimstudio in Northampton, MA, auf, wobei er hauptsächlich Hardware und analoge Synthesizer verwendete. Gemeinsam mit der Regisseurin Jacqueline Castel huldigt Muller Klaus Schulzes Musik für "Angst" und John Carpenters "Assault on Precinct 13" als Haupteinflüsse. Muller begann seine Karriere als Komponist im Jahr 2019 mit der Erstellung von fesselnden Filmmusiken für zwei Kurzfilme für die Erwachsenenfilm-Website "A Four Chambered Heart". Die Partituren mit dem Titel "Machine Learning Experiments" wurden 2020 veröffentlicht und stellten mit ihren innovativen Klangwelten sein Talent unter Beweis. Im Jahr 2023 arbeitete Muller erneut mit "A Four Chambered Heart" zusammen und komponierte zwei weitere Partituren mit dem Titel "Cellulosed Bodies".

George Davis drops part 2 of his ‘Ona’ EP: heavenly house featuring a remix by the legendary Roy Davis Jr.
kickin’ up dust drops part 2 of the ‘Ona’ EP by George Davis. A jazzy bassline, snazzy piano keys and a rhythmical vocal send hips swinging and shoulders shaking in ‘Gomera’, a track which Chicagoan legend Roy Davis Jr. then remixes with a ‘Chitown Vibe’. Squelchy synths and organic percussion enter his version with a stylish swagger, maintaining the keys while moving the vocals to the back of the mix. Next up, ‘Bumpa’ is built for the dancefloor, an infectious groove forming the base for whimsical flute-like melodies, before ‘Soul Journey’ closes out the record with a gorgeous slow-burning vision of sunset shores and distant views.
Following on from his first ‘Ona’ EP which dropped on kickin’ up dust in March, and which won the support of artists like Honey Dijon, Nightmares On Wax, DJ Sneak and many more, George Davis now drops part two in the series. The german label, which initially started in 2021 as a party in the techno capital of Berlin, first turned heads hosting artists with a funkier edge to them such as Maurice Fulton, DJ Deep, and Louie Vega.

Repress!

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

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

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

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

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

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

First-ever vinyl repress of Sheena Easton’s hit 1983 album.
• Remastered from the original master tapes and pressed
on white coloured vinyl with refreshed artwork including
new inner sleeve.
• Includes the US smash singles ‘Almost Over You’ and
Grammy-nominated ‘Telefone (Long Distance Love
Affair)’ as well as her stunning take on the Dusty
Springfield classic ‘Just One Smile’.
Sheena Easton rocketed to overnight fame in 1980 with the BBC
broadcast of The Big Time - arguably the first pop reality show -
subsequently breaking records with her first two singles ‘Modern
Girl’ and ‘9 To 5’ simultaneously hitting the UK Top Ten. Within
a year, she had topped the US Hot 100 with the renamed
‘Morning Train (Nine To Five)’, recorded the Bond theme ‘For
Your Eyes Only’, released two platinum-selling albums and
become an international sensation.
1983 proved a pivotal year for Sheena as she fully embraced her
burgeoning US stardom following a sell-out US tour, hit TV
specials and regular primetime appearances. ‘Best Kept Secret’
was her first album recorded Stateside. Working with red-hot
producer Greg Mathieson (fresh from holding down the top two
slots with Toni Basil and Laura Branigan) and Grammy-winner
Jay Graydon (Earth Wind & Fire, Dionne WarwickJ) the album
repositioned Easton as a youthful new wave stylist - as capable
of rocking hard on cuts like ‘Devil In A Fast Car’ as she was in
nailing a soaring Streisand-style ballad like the top 5 AC smash
‘Almost Over You.’ Lead single ‘Telefone’ was an out of the box
smash - reinstalling Sheena in the US top 10 pop and establishing
her as heavy rotation MTV star and dance chart regular.
This is the fourth in a series of remastered vinyls of her 1980s
albums, and part of Cherry Red’s on-going reissue campaign of
the star’s EMI catalogue in association with RT Industries.

Limitierte Neuauflage des 2013er Album PROMISES der britischen Indie-Rock-Band The Boxer Rebellion auf seeblauem Vinyl. Produziert von Billy Bush (Garbage, Fink, Slothrust), gilt es als erhabenes Hi-Fi-Werk, das den epischen, charakteristischen Sound der Band wie nie zuvor zum Ausdruck bringt.

- 'The Boxer Rebellion have once again delivered a set of yearning rock anthems, full of searing romanticism and brooding atmosphere, and the release ranks as one of their best.' - allmusic

White Vinyl. Sensing that defenses to their contagion were down, Things Viral (2003) withdrew from any familiar or friendly shapes. On their second offering, the band decelerated to its own tempo, freezing the decay of the debut in a shocking and powerful stasis. Pitchfork lauds, "Khanate have that skill for unfolding an action in such excruciating detail that you're slowly edged off your seat_ Things Viral is extreme enough to appeal to people who don't have any interest in metal; the members cross metal pedigrees with noise-drone-art-damage bands-- from Burning Witch and Old, to Sunn 0))), to Blind Idiot God's Tim Wyskida on drums. It's committed but not overbearing, too resolute and unyielding to resist; it'll grab your skull and hold you achingly still as it thrashes through the depths, then totally, quietly wears itself out."

deu Chris Eckman und Carla Torgerson trafen sich 1983, als beide in einer Fischfabrik in Alaska arbeiteten. Beide waren Studenten am Whitman College in Walla Walla im US-Bundesstaat Washington. Chris und seine jüngeren Brüder Grant und Curt hatten bereits in verschiedenen Punk- und Pop-Bands gespielt, Carla war als Straßenmusikerin mit Folk-Songs aufgetreten. 1984 zogen beide nach Seattle, Washington und gründeten die Band The Walkabouts. In den 90er Jahren waren The Walkabouts mehr als nur eine Folkrock-Kultband. Ihre wunderbaren Alben "Devil"s Road" (1996), "Nighttown" (1997) und "Trail Of Stars" (1999) kamen sogar in die deutschen Charts. Anders sah es mit dem US-Duo Chris & Carla aus - obwohl die Musik keinen Deut schwächer war. Dahinter steckten Chris Eckman und Carla Torgerson, die als Walkabouts-Sänger und -Songwriter zeitweise privat ein Paar waren und als Duo auftraten, wenn die Hauptband ihnen Zeit dafür ließ. Das Box-Set enthält 3 Doppel-LPs plus drei CDs, sorgfältig remasterte Vinyl-Versionen der drei Studioalben. "Life Full of Holes" (1995) und "Fly High Brave Dreamers" (2007) und "Swinger 500" (1998) jetzt als Doppel-Vinyl-Set. Alle drei LPs kommen in einer Gatefold-Hülle und das ganze Set wird abgerundet durch eine 16-seitige (LP-große) Broschüre mit vielen unveröffentlichten Bildern und ausführlichen Liner-Notes sowie unveröffentlichten und exklusiven Bonustracks.

PRESSED ON FRUIT PUNCH COLORED VINYL WITH HAND NUMBERED OBILIMITED TO 2000 COPIES

The contemporary realm of hip hop music can be seen as polarized between two sides; mainstream versus underground, industry versus independent, at a base level boiled down to catchy sounds & infective hooks over higher quality lyrical content. These elements don’t need to be mutually exclusive, but these days it’s rare to find an act that can please all sides of the discussion. Clipse are one of the few groups that successfully and consistently caters to both sides of rap’s splintered psyche, simultaneously serving the scene with upbeat bangers that get the club poppin’ & subwoofers rattlin’ while crafting clever quotable compositions deserving of repeated headphone submersions. Though their preceding official albums Lord Willin’ (2002) & Hell Hath No Fury (2006) made bigger splashes commercially, 2009’s Til The Casket Drops is surely no slouch, a gem which deserves to be revisited with fresh ears – good thing Get On Down has given it the proper treatment it deserves with its first-ever vinyl pressing!
Til The Casket Drops was a departure from the duo of Malice & Pusha T’s previous works in that it was their first LP not completely produced by The Neptunes. However, the celebrated team who brought us ‘Grinding’ & ‘Mr. Me Too’ still helmed 8 of the album’s 13 tracks, thus dominating the soundscapes and aesthetic of the album anyway. With the remaining beats handled by Hitmen Sean C & LV (Jay-Z, Big Pun, Ghostface) and Aftermath’s DJ Khalil (Kendrick Lamar, Aloe Blacc, Eminem) clearly Clipse stock hadn’t lowered in the game. While boasting notable vocal features from Kanye West, Pharrell, Cam’ron, Keri Hilson, Yo Gotti & their Re-Up Gang affiliate Ab-Liva, Casket Drops leaves ample space for the core emcee duo of Pusha & Malice to shine in the spotlight, with verses revolving around each other succinctly in-synch and bonded by an exceptional creative rhythm only biological brothers could share.
Clipse have always delighted in dualities, juxtapositions and contradictions, unabashedly celebrating the capitalistic lifestyle and the grind as the kings of ‘coke-rap’, while taking hard looks at society’s mores and those of their own individual journeys. We hear Malice’s eventual transition to No Malice taking form on this album as he found religion, warning others who might follow in his path on ‘Footsteps’: “don’t let my wrongs give you the right of way/ to emulate my past escaping the law’s grasp” while refusing to be pinned down in one lane: “it weights on my conscience and I hate conscious rap”. Meanwhile Pusha T continues his lyrical ascent into the King Push persona with bars like “pompous motherfucker, look what them jewels made me/ I’m only finding comfort in knowing you can’t replace me/ What a thing to say, but what am I to do/ I’m role-playing a conscious nigga and true is true/ Cocaine aside, all of the bloggers behooved/ My critics finally have a verse of mine to jerk off to” decisively on album opener “Freedom”.
Since it dropped, the Clipse have stated that Casket… is their final album together while subsequently alluding to the possibility of an eventual reunion. Only time will tell, but until then it’s time to re-celebrate one of hip hop’s most dynamic duos by hearing Til The Casket Drops in a whole new light with its long-overdue, first time on vinyl pressing via Get On Down featuring all 13 original tracks on wax and cover art by the legendary KAWS! It’s kinda like a big deal…

The story of Elvis Presley’s ‘discovery’ has passed into showbiz legend and his recordings at Sun Studios have gone down in history. Between 1953 and 1954 That’s When Your Heartaches Begin, That’s All Right, Blue Moon Of Kentucky and Milkcow Blues Boogie were cut. By chance, two covers stood out; Arthur Crudup’s That’s All Right and Bill Monroe’s Blue Moon Of Kentucky which were adapted into high-energy mixes of Blues, Country and Rockabilly. Reaction in the Memphis area was enthusiastic and the Band continued to perform their weekly slot on the Louisiana Hayride Radio Show and bonus tracks from the Hayride Radio Show have been included on this LP. Elvis was the first and greatest star of the Rock ‘n’ Roll era and his early recordings will always retain their appeal.

Deafheaven’s monolithic second LP Sunbather, was not only a massive success in 2013, it created a radical shift in heavy music culture, an acceptance of the genre by previous outsiders, and a trailblazing sound that heretofore hadn’t been heard outside of learned circles. It was a reville introducing the changing of the guard in metal, featuring phenomenal reviews across the board, and breaking the mold used by buttoned-up indie types and false-flag musical dilettantes intent on keeping the status quo. A maverick release in every facet, the cornerstone for the triumph that is Sunbather truly lies in its world class songwriting. From the opening anthem “Dream House,'' it's clear to see that Deafheaven was soaring triumphantly into the unknown, through the emotional highs and lows, the fire and rain, and onto the unseen road ahead. Lyrically, Sunbather examines themes of existentialism, diving headfirst into the abyss, and the pursuit of self-discovery. The album's title itself is similar in scope, representing the embrace of the light and movement out of the dark unknown. Sunbather takes influence from the majesty of early Emperor and underground US heroes Weakling, the dark beauty of France’s Alcest, the introspective nature of post-rock and shoegaze gods like Mogwai and Slowdive, as well as the DIY spirit of punk ranging from Fugazi to Man is the Bastard to create a new realm for their emotional and expansive epics.

Debut album by Brutality finally available on vinyl again! Brutality is a Death Metal band from Tampa, Florida. Formed in 1986 as Abomination, the band only recorded one demo under the name before changing it briefly to Darkness and eventually to Brutality in 1987. Originally released by Nuclear Blast in 1993, Screams Of Anguish hasn't seen a vinyl release since 2014 and it was about time this absolute death metal classic is available on vinyl again! Fans of Morbid Angel, Deicide, Death or Nocturnus will definitely be pleased while enjoying some Screams Of Anguish. "It takes literally milliseconds to catch a whiff of what Brutality are cooking on their debut. Right out of the gate, Jim Coker’s drums blast their way into existence, an offering of complete and total audio punishment. Don Gates and Jay Fernandez aren’t slouching on guitar, either, keeping pace with the manic drum work throughout and interjecting enough thunderous chugs to put a smile on many a Bolt Thrower fan’s face." -Heavy Blog Is Heavy

Debut album by Brutality finally available on vinyl again! Brutality is a Death Metal band from Tampa, Florida. Formed in 1986 as Abomination, the band only recorded one demo under the name before changing it briefly to Darkness and eventually to Brutality in 1987. Originally released by Nuclear Blast in 1993, Screams Of Anguish hasn't seen a vinyl release since 2014 and it was about time this absolute death metal classic is available on vinyl again! Fans of Morbid Angel, Deicide, Death or Nocturnus will definitely be pleased while enjoying some Screams Of Anguish. "It takes literally milliseconds to catch a whiff of what Brutality are cooking on their debut. Right out of the gate, Jim Coker’s drums blast their way into existence, an offering of complete and total audio punishment. Don Gates and Jay Fernandez aren’t slouching on guitar, either, keeping pace with the manic drum work throughout and interjecting enough thunderous chugs to put a smile on many a Bolt Thrower fan’s face." -Heavy Blog Is Heavy

CUT THE ENGINES is the third album by All Structures Align, following the critically acclaimed Details And Drawings and Distance And Departure (both released on Wrong Speed Records in 2022). All Structures Align began as a studio project reuniting brothers Tim and Adam Ineson of 90s underground rock heroes Nub. Their debut album Details And Drawings took everyone by surprise.

Rather than sounding like a tentative bedroom project, it arrived fully formed and with its own identity. It was an album of unhurried patience, of mounting tension (and eventual release) and it possessed a depth that rewarded repeated listens as irresistible hooks revealed themselves almost casually to the listener.

It also felt slightly out of time: no rush to the chorus, no gimmicks, no desire to pack out every second of space with sound. Lots of people agreed and the limited vinyl pressing sold out almost instantly. The follow-up came within the same year with the brothers recruiting drummer extraordinaire Neil Turpin (Objections, Bilge Pump, Polaris) to bring swing and pulse to their songs.

Distance And Departure was the result and widened their audience and acclaim further. So much so that the brothers decided to venture out and play live. To do so they brought in Oli Heffernan (Ivan The Tolerable, King Champion Sounds) on bass and Andrew Pollard (Polaris) on guitar and additional vocals.

If you’ve been lucky enough to see All Structures Align live over the last year, you’ll know this expanded band bring the songs to life beyond simple recitation. Those dynamic shifts in the music are now larger than life and fully multi-dimensional. Cut The Engines is the first All Structures Align release to capture the five-piece live band in the studio. Eight songs as spacious and measured as their previous work but with an increased directness and drama that seems to come from the interplay between people in a room.

Whilst never getting down to Ramones levels of brevity, the songs are compact and sharper than before, as though the addition of extra personnel has allowed their musical language to become more concise and effective. The songs still feel like rich novels condensed into short stories, but the band format has brought a confidence and ease to the telling that increases their impact. The resulting record is their most accessible yet, a slow-core indie-rock masterpiece that will intrigue and delight existing fans and newcomers alike for decades to come.

The Cornish improv noise / post-rock / shoegaze band’s cult classic debut, remastered and re-edited by Slowdive’s Simon Scott and available on vinyl for the first time since its release back in 2017, with original copies (released via The Weird Beard) now changing hands for triple figures. The three tracks that make up the album were recorded live, in one take. They are presented as captured snippets of the one song the band used to play, the continually existing and evolving ‘CPA’ (Cosmic Pink Alignment). It formed the blueprint for their unique mix of Sonic Youth squall and Slowdive-style beauty, which was later heard on 2021’s acclaimed debut for Sonic Cathedral, Sleepover. “People have told us they aren’t able to get a copy of the album, so a reissue was a good opportunity for us to re-look at it having learnt a bit more about the mastering process when we did Sleepover,” says guitarist Matt Ashdown. “Simon also mastered that, so we really trusted him and didn’t give him a brief – he knows we like to squeeze out as much low end as possible, which is why there is also a new cut; more low end means less space on the vinyl.” Simon’s magic touch has really elevated this stunning record, making it sound bigger, bolder and better than ever

TERMS is responsible for signing Just Waxx's first release, 3 tracks ranging from electro techno, acid house and deep techno accompanied by a remix of the Berlin-based duo Omega Men.

On side A we find ‘Collateral Damage’, a direct cut with sweeping bass and 909 rhythms: pure energy for demanding clubs. ‘Always with Cream’ is slower and calmer, transporting us to a warm passage with chords and melodies typical of the Balearic sound.

Opening side B, Omega Men remixes 'Always With cream’ giving it a more gelid touch. In it, toms and snares merge with acid sequences, creating a sense of speed and claustrophobia. On ‘Cosmic Energy’, the track that closes the album we find basses and syntheses combined with vocals and a main pad, bringing colours and textures close to the classic Detroit sound.

Following on from recent works for 12k, The Trilogy Tapes, and Important, Far More Decentralized is a new collection of subtle, enchanting pieces from Tokyo-based sound and visual artist Akhira Sano. Working with electronic, instrumental, and concrete sounds, he crafts immersive assemblages of long overlapping tones and blurred resonance, cut through with textural crunch and hiss. The resonant bell-like tones of opener ‘Kouai’ invite the listener in, calling up the warm sound palette of ambient classics like Hiroshi Yoshimura’s Music for Nine Postcards, but leaving any sense of compositional anchor behind for a free-floating harmonic drift. Woven through this seductive tonal cloud is a wavering stream of white noise and tactile pops, its textural grit threatening to derail the calmly reflective pool of pitched sounds, but never quite doing so. Each of these seven pieces occupies a similarly ruminative harmonic space while possessing its own identity. On ‘Neow’, lush tonal swells form around fragmented samples, touching on the techniques of early 2000s glitch artists like Ekkehard Ehlers. ‘Orbv’ is particularly subtle in its combination of rippling back-masked tonal wash, almost subliminal suggestions of field recordings, and distant traces of raw electronic interference, as if a Toshimaru Nakamura recording is playing through an open window across the road. ‘Margin’ weaves together a skein of wistful slow-motion melodies while untraceable, resonant clinks and ambiguous static washes rise gradually to the surface. In comparison to his recent Phase Contrast for Recollection on 12k, recognisable instrumental sounds are a rarity here, yet a hand-played feeling is present throughout. On ‘Teens’, filtered electric guitar tones reminiscent of the melancholic miniatures of Andrew Chalk float over aqueous burbles, bringing the album to a magisterial close. In the crowded field of contemporary electronic music tending toward ambience, Sano is a distinctive voice. Like his elegant abstract paintings, here seemingly static surfaces of unhurried calm reveal rich interior worlds of subtle activity and gentle chaos. Where much contemporary ambient music aims for an almost stifling cleanliness of tone, Sano breathes life into Far More Decentralized through the acceptance of imperfection, accident, and rough edges. As the artist himself says, ‘In a world where everything can be made perfectly, I think it’s a beautiful and primal act to touch the fragile and imperfect’

New Zealander via Berlin Philippa is a producer and DJ whose passion for house music, tireless commitment to her craft and ear for what makes a dance floor tick is slowly and surely starting to pay off. With her recent release Rainy Nights on Slothboogie and Things I’d Like To Be for Razor n Tape getting a lot of love Philippa continues to deliver the goods and has led to remixes for Fat Freddy’s Drop (The Drop) and Roach Motel (Faith).

Here on the Latent Magic EP we’re treated to three new tracks which highlight Philippa’s deft touch and musical approach to making interesting and left field house music. Opener Hold sets the tone with lush orchestral strings, crunchy drums and a bouncing analogue synth bassline which drives the track along perfectly.

Latent Magic uses a similarly wide-ranging sound palette, mixing up the electronic and organic, but goes heavier on the epic, arpeggiating synths for a spacious and uplifting genre-defying track to lift the spirits.

Closing out we have There It Is which has hints of Mr Scruff with looping horn stabs, live drum groove and rolling electric bassline. All in all another mighty fine Philippa release which reminds us of the early days of Freerange when artists such as Square One, Shur-i-kan and Jimpster were melding live musicians with electronics to make a refreshing, UK-centric take on house music.

You've always been able to hear the West Coast in Monocoastal, but it's particularly present when you shut your eyes after 12 months of lockdown stopping you from visiting the region. Less active L.A., and more observing in Oregon, Fischer's career didn't end with this in 2011 and the multi-disciplinary artist has produced great things since, but the album is certainly one of turning points in terms of reputation and note.

The idea of slowly watching time unfold in un-rushed places is also highly appropriate. Among the washes of tape and the waves of refrain that make up this beautiful, meditative outing, you'll hear takes and half-harmonies from found instruments including a piano and xylophone. Overall, it feels like a place removed from linearity. A liminal masterpiece, if you are that way inclined.

Mount Maxwell returns with another full-length journey into memory, melody, and geography - this time roaming beyond the BC environs of his previous records into a stranger, less knowable country. While still woozily nostalgic in the vein of Only Children and The People’s Forest, this outing feels more exploratory and wide ranging in scope, with a denser mixture of influences at play. The somnambulistic drift of Sea of Milk sets the stage with a series of wavering synth pulses that push us languidly toward land, eventually setting us down on the sands of Maze Crete, where a shadowy latticework of hand drums, flutes and synths await. From there we ascend to the aptly named Sky Eye, a rolling mixture of acoustic beats and analog string machines that gives us our first bird’s eye view of the album’s landscape. A Long Road pushes the acoustic instrumentation further, with shimmering tambourine marking time for a collection of hand drums and shakers, while Ages summons up an occult-like dream of glacial arpeggios and whispering synths. Slow Moves and Tree Motion float effortlessly along on beds of lazy congas and woodblocks before finally giving way to the title track - a heady juggernaut of distorted synths and trundling rhythms that propels us through the album’s second half like a locomotive through darkening hills. Drawing the record to a close, the gently repeating keyboard phrase of Mist blooms unexpectedly into a rainbow of human voices before evaporating into the oceanic swells of Hi Traveller. And there Littlefolk leaves us as it found us; adrift in a rolling sea.

Following on from the psychoacoustic concrète of Outside Ludlow / Desert Disco LP (BT075), Sam Dunscombe returns to Black Truffle with Two Forests / Oceanic. Dunscombe has been active in recent years on multiple fronts, including as a key member of the Berlin community of Just Intonation researchers and practitioners; working with composers like Taku Sugimoto, Mary Jane Leach, and Anthony Pateras; and the release of Horatiu Radulescu - Plasmatic Music vol. 1 (the result of many years performance research into the thought and music of this seminal Romanian spectralist). In parallel with these activities, Dunscombe has been deeply involved in research on the role of music in psychedelic-assisted psychotherapy, prompting these two side long pieces, composed using field recordings and digital synthesis. As Dunscombe explains in the accompanying liner notes, music plays a key role in psychedelic-assisted therapy, yet it is often restricted to stock forms of New Age, ambient and electronica. Taking seriously the potential for spatio-environmental sonic experiences to add to the therapeutic process, these two pieces are intended to suggest how ‘a music-as-environment approach may help to add options to the therapist’s toolbox’. ‘Two Forests’ begins in a central Californian sequoia grove. Bird songs and buzzing insect life are treated with a variety of time-based processing methods (slicing and recombination, primitive granular synthesis, delay, and so on), which strip the field recordings of their linear, documentary character, reframing them in an enchanted web of traces and echoes. Analysing the pitches found in the original recordings, Dunscombe used them to generate a large Just Intonation pitch set. These tones are woven slowly into the field recordings, gradually building in density and complexity until the forest has been transformed into an unreal space of infinite proportions. Emerging from this cosmic expanse in the final minutes of the piece, we find ourselves in the Amazon rainforest outside Manaus, Brazil. As Dunscombe writes, the piece creates ‘a sense of place-gone-strange, of space and time simultaneously expanding and contracting across octaves, miles, and minutes’. On ‘Oceanic’, several recordings of different beaches fade in and out to create a texture both homogenous and constantly shifting in both the rhythm of the waves and each recording's sense of depth and distance. Tones relating in simple ratios to the average rhythm of each beach float over each other, colouring the white noise texture of the field recordings with shifting hues. In both pieces, Dunscombe forgoes the easy consonance that bogs down much contemporary ambient music for a richer harmonic array informed by extended tuning practices and spectralism. The end results suggest a hitherto undreamt-of meeting of Radulescu’s undulating sonic masses and the discreetly processed location recordings of Irv Teibel’s ‘psychologically ultimate’ Environments. Looking beyond the insularity that can afflict experimental music culture, Dunscombe’s work is a moving argument for the healing power of expanded approaches to sound and music. Even outside of a psychedelics-assisted therapy, frequent immersion in Two Forests / Oceanic is almost guaranteed to produce beneficial psychological results.