Suche:so what music

One day, you wake up with a cloud in your head. You feel out of place and uninspired, and juggle so many worries the balance is skewed. That was Armin van Buuren three years ago. He put so much love and passion into his work and found it hard to cope with the fact that not everyone can be pleased. Something needed to change. So, he reformed his life routines, took up meditation to calm the storm and did everything he could to negate the numbness. And what he ended up with was a newfound love for music and an incredible three-part album: Feel Again.

From "No Fun" and "Computers Take Over The World" to "One More Time", "Come Around Again" and "Roll The Dice", the Feel Again album sonically represents the journey of an artist extraordinaire radically looking for harmony within himself. Its 34 tracks may be different in terms of sound, but together, they reflect an equilibrium that could only come from a man in balance.

From reconnecting to friends, family, and fans to finding inner peace, Feel Again means acknowledging harsh truths, finding out what really matters and letting that power a new step forward. Because in the evergreen words of Armin van Buuren himself, “we're still learning and will never stop learning till the day we die”.

Feel Again is available as a deluxe limited edition box set, including 3 LP's, which are housed in printed innersleeves. The set also includes 5 exclusive Armin van Buuren lithos. This deluxe boxset is limited to 3000 individually numbered copies on turquoise marbled (LP1), white marbled (LP2), and orange marbled (LP3) vinyl.

Vinyl release compiling both Nukuluk EPs on one LP. Curating their own unique sound and captivating crowds with their refreshing approach to hip-hop, electronica and indie, Nukuluk return with their new EP ‘SUPERGLUE’ on 21 April. The writing and recording process has never been executed in a conventional style for the group, a series of laptops and bedrooms manifesting the groups’ studio, aspiring to a fundamentally collaborative process as they piece their separate parts together in ever surprising ways. Respective members lead through a variety of formats, bringing a demo, a motif or concept in what can be a deeply stimulating process, ensuring the sound is ever-evolving. The EP acted as an educational vehicle that held the group together as they learned how to overcome certain challenges, and hold it together as one, hence the title SUPERGLUE. It presents a fractured journey and chaotic growth of five individuals trying to create the new together; honest vulnerable expression married with complex soundscapes, pulling from whatever genre feels natural and trying new combinations of internal collaborations in the group. The release spans genres from hip-hop to alternative rock, ambient to metal, dance music to r’n’b in what the band note as: “a kaleidoscope of sonics, songs, beats, noises and stories lurching between vulnerability and bravado, as a body of work growing in all directions at the same time.” Their latest single ‘I Just Wanna Luv U’, the follow up to the high octane ‘Covered In Gold’, marks a charged change of pace; an introspective, meditative trip-hop piece, with creeping synths, electronic drums and gruff vocals transitioning into acoustic guitars, live drums and rap verses. It tells the story of wrestling with childhood trauma, isolation and self-acceptance. Vocalist/producer Syd Nuku explores an eerie modern condition before conversing with an inner child’s trauma and memory - “be slow kid, go and take a place below the ceiling where it won’t fall”. The accompanying video was co-directed by Luke Kulukundis (Syd Nuku) and Iso Attrill, and takes reference from the likes of Michel Gondry, Charlie Kaufman and David Lynch. Nukuluk are Monika, Syd, Mateo, Louis and olivia. Entirely self made the collective successfully blend genres and styles to reach new spaces through a broad range of influences (including JPEGMAFIA, Jockstrap, SOPHIE, Wu-Lu and Yves Tumor as well as esteemed groups like Massive Attack, Portishead and Gorillaz). Formed in the midst of lockdown, the collective played their first show in July 2021 before releasing their debut EP DISASTER POP to critical acclaim in November, which subsequently led to multiple festival appearances and a 3-night sold out residency at Bermondsey Social Club in 2022. Their release campaign was littered with videos and creative visuals that were constructed by the collective and its extended family of artists - this multifaceted creative output of the group making them a unique prospect; directing and producing their own videos, exploring many avenues of creation and trying to exist in a unique contemporary DIY space. With nods across the spectrum of the music media – including The Quietus, CLASH, NME, Ransom Note, DIY, DORK, So Young and many more – Nukuluk are steadily carving out their own space in the British leftfield.

Short Bio: It only takes a few seconds exposure to the rolling riffs of opening track “Tom Cruise Control” to be reminded that this is Gozu’s world, we’re just living in it. Given that it has been five years since the Boston quartet dropped the monstrous Equilibrium, returning with Remedy is one hell of a way to make sure that everyone - whether previously familiar with them or otherwise - realizes that they are perhaps the most badass of American rock bands, for they have taken everything to the next level. “There is a certain maturity mixed with a childlike enthusiasm to play music, and we all are better players now than on Equilibrium,” says vocalist/guitarist Marc Gaffney. “We have all really tried to look at what we enjoy but more what we do not enjoy. Playing music is a gift and when it becomes A Nightmare On Elm St Part 37.3, you are done.” The result is nine tracks of their signature combination of fuzzy 70s inspired riffs, rich, catchy, grunge-esque vocal melodies and a touch of old school trippy psychedelia written and played with the utmost passion and enthusiasm, eclipsing everything else in their catalog. “The band wanted a very heavy groove-oriented album with singalong choruses. We also wanted sonically to hit you in the chest, like a three-combination, left-right-left, like Micky Ward. Harmonies and melodies were something we really looked at and wanted to shine, and thick guitar tones, driving bass and drums were under the microscope.”

After more than a decade of non-stop touring, acclaimed Austin songwriting duo, Kelsey Wilson and Alexander Beggins, quietly stopped touring as Wild Child. Headed in different sonic directions, the pair didn't know if they would ever make another Wild Child record. Then, what felt like the "end of the world" brought them back together. Pandemic lockdowns closed stages and drained bank accounts. As artists from all backgrounds took their shows to the internet, Wild Child was no different. Wilson and Beggins got together to practice for a series of online performances for devout fans, and within 30 minutes they wrote the first single for what would accidentally become Wild Child's fifth album, End of the World. Mixed by Matt Pence (Jason Isbell, Elle King) and including contributions from guitarist Charlie Wiles (Paul Cauthen, John Moreland, Orville Peck), End of The World sees the pair find catharsis in art amid compound disasters. As Wilson describes it, "I just started signing about things that were freaking me out. Wearing a mask for a year. Global warming. There's no heat, no water. It was like a dirge to begin with. But by the end we were all screaming and laughing that, yes, this might be the end of the world, but we're all together right now, making music in my living room by candlelight. It's all OK."

After a creative break of more than 10 years finally the comeback: In line with the long-awaited new album called "An Excellent Spiritual Serviceman" a limited colored vinyl reissue of the classic Contemporary Noise Ensemble debut record "Pig Inside The Genleman" from 2006.

"Jazz music without jazz, film music without movie but something splendid instead! Despite the band's name suggesting noisy music for the chosen ones, Contemporary Noise Ensemble appears to be a revelation for everyone. Beautiful, hard, romantic piano tunes in the dialogue with brass section. Simple and extraordinary emotional compositions leading to the climax which makes the flesh creeps while listening. Hair bristle on the heads of those who remember the musical past of the The Contemporary Noise Ensemble members..."

"The Contemporary Noise Ensemble impresses with maturity and class. There's elegance as well as punk energy. The compositions are unbelievably spacious but on the other hand all fulfilled with instruments - from the superb rhythm combo to the greatly equipped brass section. The roots of the most of The Contemporary Noise Ensemble musicians reach harder music, sometimes even heavy metal what bears excellent interest. The compositions are vigorous and expressive. The name of the band must be remembered because it undoubtedly is Polish export commodity."

"There’s no doubt that the Contemporary Noise Ensemble is one of the most fascinating musical projects from Poland which catches the attention of both pure jazz fans and people who are interested in experimental instrumental music in general. For fans of Cinematic Orchestra & jazz influenced film sounds."

As part of its continuing exploration of Detroit’s Strata label with DJ Amir’s 180 Proof Records, BBE Music reissues the 1974 rare jazz classic ‘Inside Ourselves’ by Sphere. Recorded live on June 28th, 1970 at the Detroit Institute of Arts, ‘Inside Ourselves’ features John Dana on bass, Jimmy Peluso on Drums, Keith Vreeland on, Electric Piano, Eddie Nuccilli on Trumpet and Flügelhorn, plus bandleader Larry Nozero on tenor and soprano Saxophone. The album comprises seven captivating original compositions, written by Vreeland, Nuccilli and Nozero himself. Perhaps Larry Nozero’s single most-recognisable contribution to popular music is the soprano sax solo on Marvin Gaye’s seminal, 'What’s Going On', the title track and tone-setter for one of soul music’s most successful, not to mention conceptual, recordings. Like so many talented reedmen before him, Nozero received instruction from Detroit’s Teal School of Music, creating common ground with Yusef Lateef, Joe Henderson, and Benny Maupin. Although Nozero flirted with the Strata groundlings briefly in 1964 as a member of Charles Moore’s Detroit Contemporary 5, he was soon drafted into the military. A mixed blessing, Nozero took full advantage of the opportunities within the Army Band, which led to several high-profile jobs upon his return to Detroit. Despite lengthy engagements with Henry Mancini, Sergio Mendes, and studio work with everyone from Holland-Dozier-Holland to Berry Gordy, Nozero still relished musical freedom of expression, which made him right at home on the Strata roster. While little is known about Sphere as a standalone group aside from its contributors and producer Bud Spangler, ‘Inside Ourselves’ represents the level of quality jazz expected from the Strata imprint.

BerettaMusic, known for discovering and developing Detroit talent and serving as a launching ground for several well known artists such as Seth Troxler, Ryan Crosson, Luke Hess and many others, the label further solidifies their legacy in Detroit dance music with a release from legendary Dez Andrés.

“It's hard to believe it is now a full decade since Detroit's Dez Andres blew up off the back of his classic house jam 'New For U.' He had of course been toiling away for years before that, recording with Moodyman and DJing for Slum Village amongst other things. Since then the music has kept coming - some of it hip-hop as DJ Dez, some of it house under this alias, and much of it a perfect fusion of the two. And that's what we get here on this new EP for Beretta Music - four lush deep house joints with his smooth signature drum loops and gloriously incidental melodies. The slower, funkier bounce of 'Back To Nature' is the EP highlight for us, but all four of these are a cut above, as per usual with Dez.”

Airport Society are the Detroit duo of Brian Kage and Ryan Sadorus who founded the label BerettaMusic together nearly 20 years ago. They have been on a tear this past year since getting back together on both the label and musical collaborations. Here they deliver a heavy remix of “Back in My Space”, taking it into the depths while accentuating the soulful elements. Inspired by late night Detroit underground parties, the duo continues to deliver classic releases and remixes. The label continues to build momentum through 2022/2023 with some great releases. Written and Produced by Dez Andrés. Remix by Ryan Sadorus and Brian Kage. Mixed and mastered at the Bear Cave in Detroit, cut by Dietrich Schoenemann. Pressed at the world famous Archer Records in Detroit.

Before Aretha Franklin rose to fame, she was signed to Columbia Records. This 3LP compilation album is a collection of some of Aretha's most notable songs during her time at Columbia from 1960 to 1965. The Queen in Waiting highlights Franklin's jazz and big-band recordings, and includes the songs "Won't Be Long", "Walk On By", "Today I Sing The Blues" and "Try A Little Tenderness" a.o.

The Queen in Waiting: The Columbia Years 1960-1965 is available as a 3LP limited edition of 2000 individually numbered copies on gold & black marbled vinyl and comes with three printed inner sleeves.

After the mind blowing success of Witchcraft's Legend (2012), mastermind Magnus Pelander outdid himself once again with the band's 2016 offering Nucleus. Combining what made it's predecessor the modern classic it quickly became as well as elements of the band's earlier days makes Nucleus a melancholic, raging, fragile, melodic and at times noisy masterpiece filed somewhere between classic rock, doom and ambient music. With a renewed line-up (Rage Widerberg on drums and Tobias Anger on bass) the band sounds more hungry and powerful than ever. In combination with the thrilling, yet very down-to-earth production by Pelander, Philip Gabriel Saxin and Anton Sundell, Nucleus throws you in dreamy sonic landscapes that will mesmerize and haunt you alike. Svart Records are proud to release an official reissue of this album on black and limited green vinyl on May 19th

After the mind blowing success of Witchcraft's Legend (2012), mastermind Magnus Pelander outdid himself once again with the band's 2016 offering Nucleus. Combining what made it's predecessor the modern classic it quickly became as well as elements of the band's earlier days makes Nucleus a melancholic, raging, fragile, melodic and at times noisy masterpiece filed somewhere between classic rock, doom and ambient music. With a renewed line-up (Rage Widerberg on drums and Tobias Anger on bass) the band sounds more hungry and powerful than ever. In combination with the thrilling, yet very down-to-earth production by Pelander, Philip Gabriel Saxin and Anton Sundell, Nucleus throws you in dreamy sonic landscapes that will mesmerize and haunt you alike. Svart Records are proud to release an official reissue of this album on black and limited green vinyl on May 19th

buen clima is the solo project of producer, composer and DJ Felipe Castro (Santiago, 1993). Under that alias, he makes a sometimes clean, sometimes dirty mix of techno, house and electro, among other styles, with a soft spot for high BPMs, big, glossy pad sounds and interlocking rhythms. With a background in classical music and free improvisation, his productions and live performances often bring into them unexpected moments of noise, unusual influences and, above all, humour.

« This EP is comprised of five tracks written between 2020 and 2022, and it's got quite a bit of contrast among them, as well as some common threads. Some are gritty and noisy, some are a bit more amiable. However, they all show signs of recurring obsessions with certain rhythms, certain synth sounds, and share a sense of fun and humour. Each is an exploration of different production and synthesis techniques.

Big Butibit Chess Master Pro v.3.5 is on the lighter side, with some big warm pads and jazzy drum sound. It's kind of a sunny ghettotech cut, if that makes any sense. The synth part has a spontaneous feel, it was recorded pretty much in one take.

>:) Is a heavier club track, made to go a little evil, a little mischievous. It's full of squelchy sounds and has a drum part that sounds like a never ending Street Fighter combo, or a bunch of beer bottles being opened one after the other.

Forma/Contenido is also on the darker side, with a droning, oppressive mass of sound that accumulates and evolves all throughout the track. It's very much inspired by the piece "I am sitting in a room" by Alvin Lucier, and is, in fact, a sort of live version of the same premise, a long feedback loop of the voice and the beat recorded and played in the studio.

Arturito is how we call R2D2 in Latin America (or at least in Chile), and it's also my father's name. We both love the original Star Wars and this is a little tribute to that. I had a lot of fun making this track, using only Ableton's Operator synth to make 90% of the sounds. It's a bouncy, evolving electro cut with a lot of quirky bleeps and bloops.

Pequeña midi is definitely the heart of the EP, a slower track made for my cat, who's sitting in my lap as I'm writing this. The rhythms and the sounds are a musical representation of how I imagine her life is like, and of her little games, running around the house. In terms of style I feel like this is what it would sound like if Yellow Magic Orchestra did a slowed down footwork track (play it at 160 BPM if you don't believe me!). »

Produced by Kelly Finnigan of The Monophonics, Record Kicks present “Without You” / “Love Can't Be Borrowed” a limited edition 45 featuring 2 singles from the upcoming album by US combo The Sextones “Love Can’t Be Borrowed”. The 45 vinyl is limited to 500 copies worldwide and it’s a must have for all rare soul fans and djs. The Sextones are back. The intrepid soul crusaders from Nevada’s high desert have emerged from years-long writing and recording process guided by virtuoso producer Kelly Finnigan (Monophonics) with their latest offering: Love Can’t Be Borrowed the new album to be released next September 29 via Milan heavy-weight soul label, Record Kicks. With inspiration from artists like The Moments, Baby Huey, The Delfonics, and especially the late Curtis Mayfield, the album is drenched in the era-defining tone that can only come from its origins on analog tape. Friends since childhood, The Sextones are Mark Sexton (guitar, vocals), Alexander Korostinsky (bass), Daniel Weiss (drums), and Christopher Sexton (piano). Having known each other for so long, their musical chemistry is effortless and forms the foundation of the band’s longevity and creative workflow. Despite their bond, each member has been able to channel their creativity into other acclaimed groups—Alexander and Mark with their cinematic-soul project Whatitdo Archive Group, whose acclaimed debut LP “The Black Stone Affair” was released on Record Kicks in 2021, and Daniel with the soul/jazz group Delvon Lamarr Organ Trio (Colemine Records). Flexing their creative muscle individually has only strengthened The Sextones’ collective songwriting ability and heralds their formidable return to the spotlight. With their recent signing to Record Kicks, the self-made heroes of soul begin a new chapter in their sonic journey, ready to scale new heights and plumb deep emotional depths in service of the genre they love.

History has proven that when the world is in flames, it ignites the empathetic artists to siren their words, music, and rhythm, to blanket our society"s fury and nurse scorched souls. The seemingly endless years of pandemic lockdown and social distancing, coupled with the turbulent plague of civil unrest and racial injustice, called on Vintage Trouble to step into their battle wear. Like so often before, they have spun records to drop onto the fighting grounds, with the intent to freeze the frame long enough to momentarily halt the warring world. And while at ease, we can freely choose to think before we strike or decide to retreat, rather than thoughtlessly charge into repeating history. This collection of heavy hymns is from the heart, and it provides a necessary rise to our ever reckoning.

1st Science (Henrik Helenius) Has Been An Online Man Of Mystery For Some Time, And You'd Better Believe He Supplies The Goods Whenever He Resurfaces!

In The Early 1990s, Out Of The Uk's Rave Scene, 2 Genres Known As Breakbeat Hardcore And Jungle Were Spawned. A Decade Later, And A Modest Online Community Began To Try And Revive The Genres In The 2000s Within A Scene Dubbed "Hardcore Breaks". Henrik Became One Of Its Most Influential And Creative Contributors, Bagging Himself Appearances On The Likes Of Right Touch Records, Bat Beat Recordings (The Precursor To Renegadegenius's Paranoid Recordings) And Hardcore Lives, As Well As Becoming One Of The First Serious Juggernauts Of Sharing Music Online.

Based In Stockholm, In The Words Of Strictly Nuskool Blog, Henrik Swiftly Earned Himself The Title Of "The Swedish King Of Hardcore" Amongst Junglists... And That's A Tough Title To Pinch!

Skip Ahead To The Year 2023, And 1st Science Is Far From Done. Hell, Didn't You Know He's Only Just Started Tuning Up The Bunsen Burner? From The Ones Who Brought You "You Time" And "First Sign Of Trouble", Yes Yes, Erupt Proudly Presents A Shiny New Ep From The Man, Featuring 5 Of His Finest Tracks On Wax For The First Time. If You're Familiar With The Earlier Digital Release Of This Ep, Don't You Worry, For Being Patient You Get The Exclusive Bonus Track "Everlasting Night" Here.

So What Are You Waiting For? 1st Science Invites You To Participate In An Experiment Which Requires Your Subwoofers. An Absolute Treasure Trove For Any Techno, Breaks, Or Uk Retro Rave Lover.

180 Gram Vinyl Following the success of the 2021 reissue of Ambient Warrior’s cult classic Dub Journey's (1995), Isle of Jura is pleased to present their unreleased second album, II. Born from the same oceanside fusion of instrumental dub, reggae, bossa nova and tango music that made Dub Journey's so distinctive and memorable, II is an equally sublime collection of eleven unheard tracks from the brilliant minds of Ronnie Lion and Andrea Terrano.

Evoking the delights of white sands, palm trees and sunsets, all set against clear waters and endless blue skies, Dub Journey’s and II document the golden moment when Ambient Warrior came together during the mid-90s to create some of the most Balearic Dub ever made. “Music is the greatest traveler, isn’t it?” says Ronnie. “It gets to places the actual artists can’t even get to really.”

The son of an orphaned Jamaican jazz trumpet player and professional boxer who enlisted in the military after stowing away on a boat to London, Ronnie grew up between Germany, Singapore and the UK before becoming a working musician in his mid-teens. A bass player by trade, he honed his skills playing in a series of soul, jazz-funk, blues, rock and reggae bands that performed throughout the UK.

By the time Ambient Warrior released Dub Journey’s, Ronnie and his business partner Ras Joseph were running the Lion Inc. recording studio and record label in Brixton, London. Having set up distribution arrangements with Roots Records (UK) and Semaphore (DEU/NL), they recorded and released a series of singles, compilations and solo albums from a who’s who of roots reggae artists, including Twinkle Brothers, Delroy Washington, Michael Prophet, Alton Ellis, Little Roy, and Ronnie’s own band The Amharic. “Lion was a regular port of call for visiting Jamaican artists,” reflects Ronnie. “When you were in London, it was on the route.”

An accomplished guitarist, producer and recording engineer from Trieste, Italy, Andrea grew up listening to Russian folk, Klezmer and the Italian harmony tradition in a Sicilian-Ukrainian family. After completing compulsory Italian military service, he moved to London to continue studying music. One night, he turned up at Lion Inc. and approached them about running audio engineering classes from the studio.

In Andrea, Ronnie found a collaborator who shared his desire to create borderless music that reflected the diversity of their backgrounds. “I wanted to do something that had no boundaries,” Ronnie explains. “If you’re working on a roots album, it has to sound a certain way, but with Ambient, especially in the nineties, it was just a license to let off. You could do whatever you wanted to do.” “It was a melting pot of influences like London itself,” adds Andrea.

Although they wrote most of II at the same time as they were recording Dub Journey’s, it took them several years to finish off the album. “Things never got done quickly,” Ronnie remembers. By the time it was complete, Roots Records had gone out of business, leaving Lion Inc. without UK distribution. Not long after, their Brixton studio flooded, bringing the label to a close.

These days, Andrea continues to work as a session guitarist, recording engineer and producer in London. Over the last two decades, he has collaborated regularly with Basement Jaxx and released several solo albums. Ronnie, on the other hand, lives on a boat equipped with an onboard studio, where he has recorded a series of oceanic dub albums off the British coast. Twenty-eight years after the release of Dub Journey’s, he recently started working on demos for a third Ambient Warrior album he hopes to record with Andrea in the not-so-distant future.

Artwork By Bradley Pinkerton.

Here comes something unapologetically goth.

Male Tears is the dark electro group consisting of vocalist, James Edward and synthesist, Frank Shark. Hailing from Los Angeles, what began as a solo project re-established itself as a duo in 2021, simultaneously moving from the breezy sounds of the first self-titled album to darker realms with their sophomore Trauma Club.

Krypt is their third full-length recording and it shows a fully grown ensemble capable of pushing everything over the top; blending elements of darkwave, goth rock, EBM and futurepop into a sound they call Dark Rave.

Naturally drawing inspiration from the Californian goth tradition (45 Grave, Christian Death) and the Canadian post-industrial brood (Skinny Puppy, FLA), as well as the best UK synthpop (Depeche Mode, The Human League), Male Tears emphasizes the most glamourous, and at once, gruesome aspects of the whole gothic subculture, bringing everything to the next level, resulting in a contemporary and cutting edge album.

Eight new cuts that alternate rarefied synthwave (Krypt), dark eurodance (Slay) with goth techno-pop (Sleep 4Ever) and pounding electro-industrial (I Expire) to create something we may call New Romantic Body Music. It’s no wonder we wanted the scene’s top studio, La Distilleria, run by Maurizio Baggio, to master this for the most bombastic outcome.

And yet Krypt is not just about the music, it’s about one up with the times attitude that can review aggressive EBM in the light of an extravagant pop sensibility and a theatrical grandeur worthy of the Blitz Kids from London circa 1979-80.

You may think it takes quite a bit of nonchalance to do so but the L.A. duo easily succeeds at this. Akin to their aesthetics, they may seem spooky from the outside but their approach is nothing stuffy. Quite the contrary, everything regarding Male Tears is a celebration of life’s most bizzare shades, driven by some of the best dark humor you’ll find around.

So Dance with me, my dear, on a dancefloor of bones and skulls / The music is our master The devil controls our souls.

Few artists exude as much passion for, and dedication to, their craft as Tom Marshall (AKA Marsh). Since he first emerged on the electronic music scene in the mid-2010s, Marsh has sculpted a uniquely soulful sound that has captivated his listeners and earned him a fast-growing and intensely devoted fanbase. Marsh's forthcoming album 'Endless' follows two previous bodies of work; his 2017 debut 'Life On The Shore', and his critically-acclaimed Anjunadeep debut LP, 'Lailonie', the latter of which has accumulated over 20 million streams to date. Marsh also has an array of widely-supported anthems in his discography. 'Come Together' (with Nox Vahn), 'Little Darling' and the Beatport chart-topping 'Lost In You' are some of his best-loved tracks, all streaming well into the millions and winning support from electronic music's biggest artists, including Joris Voorn, Pete Tong, Diplo, and RÜFÜS DU SOL. The two years since Marsh released his previous album 'Lailonie' have seen Tom moving around the States and touring the globe in a world rapidly opening up post-pandemic. This whirlwind, semi-nomadic lifestyle has inspired his third artist album 'Endless', and caused him to take stock of his values. In his own words, "I've written this entire album on the move, writing from so many different homes. On a deeper, more spiritual level, this has led me to question, what is truly home, and will we experience home after this life?" 'Endless' comprises twelve memorable tracks, including collaborations with vocalists Jodie Knight, Leo Wood, and Mariel Beausejour. Drawing on influences as diverse as the rich trance sounds of the 2000s that soundtracked his teenage years, and the musicality of crossover drum & bass acts like Pendulum, Tom's next offering is perhaps his most expansive in scope. Opening with the subtle first track 'Pneuma', the album moves from the emotive and lyrical, on lyrical, emotive tracks like 'Sleep' and 'Forgiveness', to piano house melodies on 'Reminiscent' and smooth broken beats on 'Blue', all united by Marsh's innate warm musicality.

RP Boo's essential first album, 2013's ‘Legacy’ caused a storm of acclaim worldwide as people finally started to piece together his true place in Footwork and the powerful legacy of his work as an innovator. In parallel with productions, his always on-point DJ sets have lit up festivals and clubs worldwide and continue to do so to this day, notably leading to him being named one of the ‘100 World’s Best DJs’ in a recent book by DJ Mag. Now on its 10th anniversary ‘Legacy Vol.2’ continues his story. Featuring tracks created between 2002 and 2007, this is a wonderous selection of material, some known, some unknown. The album kicks off with the dark and epic ‘Eraser’ created in September 2007, during a time RP was going to underground Footwork club War Zone on the west side of Chicago. The track was inspired by, and created to fuel, the “taunting words of intimidation” between dancers.” And now it makes for one intense album opener. Some cuts are inspired by everyday life – take for example 2005's ‘Pop Machine’, which was inspired by the time he was working at Speedway Oil Change who had a temperamental soda/pop machine. One day, a customer put money in the machine and nothing came out, so he continued to press the button, and for some reason RP found this funny so he went over to the machine and started pressing the buttons himself and everyone he touched started saying “Work!.” Inspired once he was back home in his studio he made ‘Pop Machine’ in tribute to the defunct machinery. When he came back to work the next day and played the track for all this co-workers it blew their minds and they also laughed with at how creative RP could get using things from his everyday life as inspiration. ‘Pop Machine’ also illustrates how RP’s Footwork uses repetition and minimalism as fuel. Years later RP Boo is still inspired by Foot Work – the art of dancing and working for dancers. He continues to shake up clubs and isn’t afraid to get out from behind the decks and drop some Foot himself. We’ll let the man himself have the final word - “What inspires me to keep going is seeing the people having an awesome time moving on the dance floor, as well as playing music that is a recognizable part of my life. I’m one with it.”

First LP from Donna Candy, the bass-vocal-drums trio trawled from the sub genres of experimental rock and busy pushing to the front of heavy music. Nu metal bass riffs, switch-pitched fuzz vocals and big, splashy drums layer over unsettling narratives and extreme loops to bring a bit of the pit to the dancefloor.

Begun as an off the cuff party band with the idea of finding a live sound that would fit between 4am trance sets, the trio soon found themselves addicted to the euphoric sludge they created. Swapping their usual guitar for a bass, JS Donny drives Donna Candy with simple riffs, split half clean and half shredded with Boris / Sunn O))) like distortion. Head-banging the whole way, they’ll switch speed or stop suddenly, bending and drawing out notes to ratchet things up for release. Nadja's vocals tear through the top layer - heavily processed and warped with weird imagery. Together there’s a feeling of what it might be like to see Sightings slowed by codeine but with Elvin Brandi on the mic.

Always set up facing each other, off stage and surrounded by the audience, Donna Candy encourage catharsis - reciprocally transforming energy between themselves and the crowd. They build a queer euphoria that pulls apart metal’s narrow dichotomy of nihilistic machismo vs. hyperfemininity, and begins to make the visceral faux-hybridity of nineties nu metal feel possible this time around. ‘Blooming’ brings us six offerings from the band on a four way split release that speaks for itself - once on board with the DC energy you’ll want to be a part of it.

First-ever reissue of the 1988 album. Gatefold LP includes new and restored artwork and a chapbook, featuring forty-eight pages of lyrics, essays, photographs, and Gordon's extraordinary drawings for each song. The Choctaw, Assiniboine, and Texan poet, journalist, visual artist, American Indian Movement activist, and musician Roxy Gordon (First Coyote Boy) (1945-2000) was above all a storyteller, known primarily as a writer of inimitable style and unvarnished candor, whose wide-ranging work encompassed poetry, short fiction, essays, memoirs, journalism, and criticism. Over the course of his career he recorded six albums, wrote six books, and published hundreds of shorter texts in outlets ranging from Rolling Stone and The Village Voice to the Coleman Chronicle and Democrat-Voice, in addition to founding and operating, with his wife Judy Gordon, Wowapi Press and the underground country music journal Picking Up the Tempo. Along the way he cultivated close friendships with fellow Texan songwriters such as Lubbockites Terry Allen, Butch Hancock, and Tommy X. Hancock, as well as Ray Wylie Hubbard, Billy Joe Shaver, and, most famously, Townes Van Zandt, whom he called his brother. Although his work covered a vast array of topics exploring strata personal, local, global, and cosmic alike, Gordon's primary subject as a writer, musician, and visual artist was always American Indian culture, specifically the ways it collided and coexisted with European American culture in the South and West-and within the context of his own life and braided identity. The ten songs on Crazy Horse Never Died, his first officially released and distributed album, were recorded in Dallas in 1988. "Songs" is perhaps an imprecise taxonomy for what Roxy captured on this and his other albums, all of which remain out of print or were released in instantly obscure limited editions of homebrew cassettes and CD-R's. (Paradise of Bachelors plans to reissue remastered, expanded editions of his catalog; Crazy Horse is the first.) He only occasionally attempted to sing, and his musical recordings are primarily corollaries of, and vehicles for, his poems. His sharp West Texan drawl, tinged by formative years of reservation living in Montana and unmistakable once you hear it-high, lonesome, flat, and cold-blooded as a bare rusty blade-instead patiently unfurls in skewed sheets of anecdotal verse and discursive narrative rants. Although Gordon's music at times incorporated powwow style drumming, fiddling, or unaccompanied ballad singing, the majority of it hews to an idiosyncratic spoken word style, accompanied by atmospheric, sometimes synth-damaged country-rock that skirts ambient textures and postpunk deconstructions. His songs are essentially recitations over backing tracks of finger picked guitars, rubbery washtub bass, and buzzing, oscillating keyboards. On the stark yellow and red jacket of Crazy Horse, which he designed himself, Gordon describes these recordings as innately ambivalent in terms of form, content, and identity: These are poems and/or songs about the American West, white and Indian. My life has been Indian and/or white. Maybe there's not a lot of difference-maybe. I guess that's mostly according to which white person or which Indian you're talking about. That's probably what this album's about. Crazy Horse Never Died comprises songs that span the personal and political arcs of his writing practice and the poles of his native and white ancestries.