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Kate Hudson’s not sure what took her so long, especially with all the music whirling inside her. That hunger for musical expression from the woman who embodied the rocker’s muse in Almost Famous runs deeper. “I always felt connected to music. It was my outlet.” Natural and easy, there’s both self-examination and celebration flowing through her songs. She understands the phases of modern music in a way that’s fluid, but defined, honest, yet willing to leave it all at the door in the name of love.

Powerful works of art have traditionally sprung from some source deep within an artist and, if they strike the right tone, resonate with an audience to leave a lasting mark. But what if that equation were reversed: what if an artist were to draw their inspiration from deep within their audience, and use that to reflect those ideas, emotions, hopes, fears, pains and aspirations back to us?

Over a two year journey, audio-visual artist and electronic innovator Max Cooper has inverted the creative process by collecting hundreds of anonymous quotes, posing deep but open questions such as "What would you like to express which you cannot in everyday life?" and "What is it like to exist inside your head?"

The goal: to understand what it is truly like to be human right now. The result: his new album On Being, to be released in February 2025 with the first single "Sun In A Box" coming this September 4th.

With On Being, Cooper aimed to probe under the synthetic surface of social media to "create a snapshot of our minds these days," as he puts it by asking people to share anonymously what they dare not ever say publicly. The result is an emotionally raw and shockingly honest kaleidoscope of confessions, ranging from suicide contemplations to miserable marriages to simple pure loneliness, contrasting with hundreds of anonymous confessions of love and longing.

"I was interested in the way I interact with people for my writing process, which usually involves a one-way communication of feelings and ideas that I later find out whether they resonate with others or not," says Cooper.

"With this I could start instead with people's thoughts and feelings, what resonates for them, and make my own interpretations of those musically and visually, and then send those back out to everyone. It's more of a collaborative approach to making an album, and more intense."

Grief, hope, regret, joy, hurt and love form the basis for each track, taking Cooper's ever-evolving creative process in a completely new direction - with profoundly intense results.

"Rendering the experience of being is at the core of what I do musically - but I hadn't realised the impact that other people's words on being would have on me until I started reading the database of thoughts," he says.

"It was like finding a secret window into everyone's minds, and discovering amongst the chaos, pleasure and pain, the experiences that we all share at different times of our lives, and overwhelming emotions and connections that call out to be explored."

Despite what we see in the maelstrom of rage in the echo chambers of society ‘On Being’ reveals that humans still have an innate need to trust one another and express communal generosity - more easily done from the safety of an anonymous portal.

"The quotes carried so much weight for me - I interpreted them with my usual musical tools, but as you can hear in the music, everything got more extreme as I dove into the depths of what everyone had to say later in the record," says Cooper.

The result is a unique work of art that demonstrates unequivocally not only the power of using music without words to express emotions, but the power of words to express what seemed to be inexpressible.

On Being will continue to evolve as Cooper gathers more confessions to feed into this ecosystem of emotions and to create a new range of art projects and other accompanying works which hopefully will speak truthfully to humanity today - and of who we are and who we can become.

ALL ME IF YOU GET LOST: The Estate Sale is a limited edition 3 LP vinyl set, that features Tyler, The Creator’s original critically acclaimed CALL ME IF YOU GET LOST album plus 8 additional songs, pressed on Geneva Blue colored vinyl.
The discs are housed in a triple gatefold jacket with embossed cover, and foil detail, and includes a 28-page booklet.

Free-floating. Inspired. Multi-layered. Al Pagoda’s debut Lucky Veil for Bigamo certainly was many different things, but, above all, a highly impressive sleeper album that offered something new with each and every listening. It also felt a bit dizzy and lonely, but maybe that’s what’s happening when you relocate yourself to Berlin as an artist during the cold season.

Four years later, many of these characteristics still remain intact, but the sonic identity of Al Pagoda has evolved: the feeling of solitude made room for something way bigger, precise, and ambitious sounding. This transformation is shaped by the creative partnership with German producer Berend Intelmann, whose rhythmic expertise has become integral to their shared musical vision.

The NOW Yearbook series continues with the ultimate soundtrack to one of pop’s most dynamic years: 1998 - out February 14th! This collection brings together the biggest and most iconic tracks from the year, presented across three stunning coloured vinyl discs, pressed in neon violet with 43 tracks from the era and two CD editions available as a standard 4-CD set, and as a special edition 4-CD set in ‘hardback book’ packaging, which includes a 28-page booklet packed with notes about all of the 80 featured tracks that capture the unforgettable sounds from the year. Whether you’re reliving the hits or discovering them for the first time, this collection brings you the best from the singles charts of 1998.. Whether you're revisiting these unforgettable hits or discovering them anew, NOW - Yearbook 1998 brings you the best from the singles charts of 1998!

‘Colours Revisited’, a revision of Adam F’s MOBO Award-winning 1997 debut album is a story of musical rebirth and passion. Adam F, realising that ‘Colours’ had found a new audience—partly thanks to artists like PinkPantheress—decided to recreate the album. Instead of simply remastering the tracks, Adam went all in. Over two years, he meticulously reworked the original music, from restoring vintage instruments like his Fender Rhodes piano to enlisting UK jazz legends like Julian Joseph. Vocalists including Kirsty Hawkshaw and the late MC Conrad re-recorded their parts, while new solos from world-class musicians added fresh life to the tracks.

“Colours holds a special place in my heart because it was not only my first solo album, but also because I had the opportunity to collaborate with diverse talents,” says the seminal producer on his ground-breaking album. “Musicians of a calibre such as Dave Ital (Guitars), The Jazz Great Julian Joseph (Keyboards and Fender Rhodes), MC Conrad (MC/Artist), Roni Jordan (Jazz a guitarist who had a hit with Miles Davis’ “So What”), Tim Philbert/Tim the Bass (Bass), Greg Leicester (Bass), Maurice Capillaire/MC MC (Live MC)…”

Adam continues “We were honoured to be nominated for MOBO “Best album of the year” alongside renowned acts of that time, including Hinda Hicks, Des’ree, Lighthouse Family, and Massive Attack. In fact, I was so convinced that we wouldn't win that I didn't prepare a speech, and that definitely showed in my genuine surprise. Colours also went on to be a top 20 UK National Chart hit which lead to Metropolis winning Tune of the Year at the Underground Awards. Music In My Mind from the same album was inspired from Herbie Hancock ‘Rocket’ and ‘I Thought It Was You’.

“Fast forward to 2020, I never thought of ever revisiting ‘Colours’. But it seems that time has come round full circle, the interest is there.” The revisited album deftly weaves together the energy of new live instrumentation with the 80’s British electronica and jazz fusion inspired sounds of the original.
The result is a project which not only brings the album into the glistening present but somehow manages to add further depth and sense of understanding of the original ‘Colours’, the influences latent within it and how and why it has gone on to influence so many others since it’s inception throughout the world. This is a must have album which pays homage to what has become a cornerstone of British electronic music history.

‘Colours Revisited’, a revision of Adam F’s MOBO Award-winning 1997 debut album is a story of musical rebirth and passion. Adam F, realising that ‘Colours’ had found a new audience—partly thanks to artists like PinkPantheress—decided to recreate the album. Instead of simply remastering the tracks, Adam went all in. Over two years, he meticulously reworked the original music, from restoring vintage instruments like his Fender Rhodes piano to enlisting UK jazz legends like Julian Joseph. Vocalists including Kirsty Hawkshaw and the late MC Conrad re-recorded their parts, while new solos from world-class musicians added fresh life to the tracks.

“Colours holds a special place in my heart because it was not only my first solo album, but also because I had the opportunity to collaborate with diverse talents,” says the seminal producer on his ground-breaking album. “Musicians of a calibre such as Dave Ital (Guitars), The Jazz Great Julian Joseph (Keyboards and Fender Rhodes), MC Conrad (MC/Artist), Roni Jordan (Jazz a guitarist who had a hit with Miles Davis’ “So What”), Tim Philbert/Tim the Bass (Bass), Greg Leicester (Bass), Maurice Capillaire/MC MC (Live MC)…”

Adam continues “We were honoured to be nominated for MOBO “Best album of the year” alongside renowned acts of that time, including Hinda Hicks, Des’ree, Lighthouse Family, and Massive Attack. In fact, I was so convinced that we wouldn't win that I didn't prepare a speech, and that definitely showed in my genuine surprise. Colours also went on to be a top 20 UK National Chart hit which lead to Metropolis winning Tune of the Year at the Underground Awards. Music In My Mind from the same album was inspired from Herbie Hancock ‘Rocket’ and ‘I Thought It Was You’.

“Fast forward to 2020, I never thought of ever revisiting ‘Colours’. But it seems that time has come round full circle, the interest is there.” The revisited album deftly weaves together the energy of new live instrumentation with the 80’s British electronica and jazz fusion inspired sounds of the original.
The result is a project which not only brings the album into the glistening present but somehow manages to add further depth and sense of understanding of the original ‘Colours’, the influences latent within it and how and why it has gone on to influence so many others since it’s inception throughout the world. This is a must have album which pays homage to what has become a cornerstone of British electronic music history.

Humphrey Aniakor started Duomo Sounds after a trip to Milan. The idea was to produce a new sound for the emerging generation. A sleek funky but refined, Nigerian disco sound. This compilation captures all of that intention with a broad array of artistes. The music is sometimes sung in local Nigerian languages and sometimes in English but always with an African Accent. Modern grooves for an African market.

After several months spent hanging out at studios in Los Angeles and New York, observing the musicians, producers and engineers at work. He went to nightclubs to study what kind of sonic textures made the crowd move. And when he felt he had gotten the hang of it, he returned to Nigeria to set up his record label. A label that would showcase the au courant, cosmopolitan face of the Nigeria’s emerging young generation. That would encompass the boundlessness of imagination, focus, persistence and craftsmanship. That would deliver music that touched the soul.

There was hardly a shortage of available musical talent by 1980, as Duomo was preparing to launch. The seventies had seen a massive flowering of bands offering a wide array of sounds and styles. But 1980 proved to be the year that would change the topography of the music landscape and its approach to packaging talent. Artistes like Mike Umoh (erstewhile drummer with Bongos Ikwue and the Groovies), Bindiga (Ghanian afrofunk musicians), Christy Ogbah (who worked as a policewoman) bring their personal artistry to create the new sound.

And he would call it—what else?—Duomo. Duomo Sounds Limited.

This combination created high-quality Nigerian music but it also marked the end of bands as the focal point for the popular music marketing. After Okotie’s breakthrough, it became clear that the eighties would be the era of the solo artist. And this would lead to the fracture of established bands as members opted to roll the dice on solo careers.

Few sounds transcend time and space quite like the driving pulse of Afrobeat, and few artists, for that matter, have defined their own domains quite as profoundly as Tony Allen—the very beat of Afrobeat itself. In 2011, Allen recorded one of his inimitable rhythmic dialogues as part of the Afrobeat Makers Series for the Parisian imprint Comet Records. Charged with the same fervour for uninhibited expression that defined his trailblazing career, Tony Allen’s drumming, free from convention and charting its own course, emanates a cadenced stream of consciousness that speaks its own truth.

If Allen’s language was his beat, then on this record, La BOA—La Bogotá Orquesta Afrobeat—becomes his latest and most fitting interlocutor. What began as a tribute—a song named after Allen—now feels like the prelude to a deeper dialogue in a meeting that seems more like fate than mere happenstance.

Led by producer Daniel Michel, the ever-evolving band has spent over ten years embodying the fluid, transformative spirit of Afrobeat, imprinting it with their distinctly Colombian sensibilities. From Casa Mambo in Bogotá, Michel’s Mambo Negro Records has become a cornerstone of Colombia’s underground scene championing Afro-Colombian and independent music throughout that time.

Across this LP, Allen’s recordings lay down the canvas upon which La BOA paints its own vision of Afrobeat—raw and expansive, locking step with his drum tracks while building around the unmistakable blueprint of their Colombian rhythms: exuding Caribbean beat, rolling with Pacific groove, and, above all, shaped by the rarefied air of the Andean melting pot that is Bogotá. What ensues is an enduring conversation that crosses eras, borders, even life and death—a celebration of the passing of the baton and the boundless nature of Afrobeat as a genre that refuses to settle. Where the beat of Lagos meets the brass of Bogotá, so too La BOA meets Tony Allen.

South African Modern Soul/Jazz-Funk - Originally released in 1979, Cape Town – Re-mastered by Simbad

First time re-issued on vinyl, “Expressions” is the 3rd album from one of the greatest South African bands ever, I named Pacific Express. Now think Stevie Wonder and Weather Report, then take a serious established local band, and you have here a “Cape Town version” with their own talents. Between Modern soul and Jazz-Funk, no doubts, this record is a gem!!! Fred Spider*

“This name evokes awe and admiration in equal measure among musicians across the country. They became a crucible where budding local musicians built their reputations before going on to become recording artists, band leaders, and musical legends (like Jonathan Butler did on Expressions*).
The greatest Pacific Express legacy, apart from the memorable music they made and recorded, was their role in helping establish the distinctive sounds of South African music generally and Cape Town jazz in particular. When Producer Tully McCully wanted straight, solid drumming for the Expressions album, Momple delivered the groove, swing, and drive for a funky album.” Michael Britton

Artwork by Fred Spider – Graphist designer by Graeme Arendse
Vocals, Guitar: Jonathan Butler, Bass: Paul Abrahams
Drums, Percussion: Jack Momple, Vocals, Percussion: Zayn Adams, Keyboards, Trumpet, Arranged By String: Tony Cedras, Guest, Saxophone: Barney Rachabaney, Guest, Trumpet: Stompie Manana,
Executive-Producer: Paddy Lee Thorp, Producer: Tully McCully

Meet Leng’s latest signings, Liminal – a Danish duo comprised of guitarist, multi-instrumentalist and producer David Rosenkilde, and DJ, producer and sound engineer Morten Troest.

The pair first met when Rosenkilde was booked to perform as a session musician at Troest studio. They clicked immediately so with Troest’s studio skills and inherent knowledge of what works on dancefloors paired with Rosenkilde’s abilities as a musician they decided to produce their own music together working to one simple rule: try out every idea, however outlandish!

Since then Rosenkilde and Troest have been recording their debut album that’s set for release on Leng later in 2025. First, though, we get a taste of their talents via ‘Keep Coming Back To Me’, an impressive debut single that blends electric and electronic instrumentation while keeping its focus fixed on the dancefloor.

Ushered in by shakers, rubbery bass and flanged guitar licks, ‘Keep Coming Back To Me’ giddily blurs the boundaries between colourful nu-disco, low-slung dub disco and the sun-splashed beauty of the more club-friendly end of the Balaeric spectrum. It boasts a hazy, multi-tracked and lightly glassy-eyed lead vocal, as well as a nagging TB-303 acid line that works its way to the fore as the track progresses, adding extra layers of excitement and energy as it unfolds.

Remixer Ray Mang (AKA long-time friend of the label Raj Gupta) takes the latter element as his inspiration on a stunning, nine-minute plus remix that brilliantly re-frames the track as a blend of tactile 21st century nu-disco colour, hypnotic proto-house and analogue-rich, acid-fired Chicago jack. Re-playing the bassline in an early Chicago house style and reaching for lo-fi and spacey synth sounds, the veteran British producer frequently strips the track back to the groove before re-introducing the vocal and the dreamiest of chords.

Liminal also display their sonic diversity on bonus cut ‘The Moon Is Changing’, a wonderfully atmospheric and star-lit affair in which spacey ambient chords, twinkling electric piano keys and intergalactic electronics slowly usher in a mid-tempo Norse nu-disco groove. The pair build slowly, adding vocals and layered guitar licks. The results are hard to pigeonhole but thoroughly impressive, offering a tantalising glimpse of what’s to come on their must-check debut album.

As the new year kicks off its time to return to the party bangers and who better to invite for than the awesome Crash Party. After releasing his debut album Everything Happens for a reason on his own Big Beat Sunday label – we were able to convince the busy producer to return for a 2-track party drop for our infamous Toxic-Funk series.

Kicking off things with instant intoxicating classic break with some timeless "wonder"-ful groove with an equally legendary rap-flows. Now what does that mean? Instant party classic A-side named Tribe Called Wonder!

On the flip-side Crash Party slows down the beats a bit but leaves it equally toxic with some big grooves on the Break On jam. Like the A-Side this jam features some legendary rap hooks which goes smoothly with the oldskool vibes.

Breakbeat Paradise Recording delivers yet another belter for the crate for the funky DJs keeping it real and keeping it vinyl!

Over the last few years, New York based producer umru has applied his vivid sonics to an expansive pool of sounds through his own work, or with those operating on the cusp of the underground and mainstream space such as Charli XCX, 100 gecs and ericdoa. After opening a new era late last year with the carnal rap chaos of ‘check1’ ft. Tommy Cash and 645AR before following it out with the hyperactive love story of ‘heart2’ with Rebecca Black and Petal Supply, umru today announces his second official EP on the PC Music label; comfort noise. Alongside the announcement, he’s sharing another taste from the project - a collaboration with Fraxiom titled ‘all i need’, also featuring Hannah Diamond and Tony Velour. Opening more gently than his most recent previous efforts, ‘all i need’ is centered around a pervading tenderness that glitters even through the song’s more hectic moments. Fraxiom’s vocal glides in a breathless fashion as if they’re expressing their crush in as descriptive fashion as possible, becoming the main melodic centrepiece as the track transforms into a relentlessly percussive workout. Tony Velour’s verse brings a more laid back rhythmic approach to the track before Hannah Diamond lays down a twinkling contribution to the track’s closing moments, making ‘all i need’ one of the most sonically diverse electronic pop tracks of recent times. With comfort noise, umru has compounded his reputation as one of this generation’s most inventive crossover producers. Taking his truly versatile sonic palette and applying it to classic pop songwriting, umru is pushing the boundaries of what is possible within his scene, and as unpredictable as his sound is, you can be sure it’ll be one hell of a ride. North American tour with Hyd through November 2022 followed by Boiler Room stage (OOM ROOM) curated by umru featuring ericdoa, Petal Supply, William Crooks.

Stix Records, a sub-label of Favorite Recordings, proudly presents the new and 3rd single by Mato & Ethel Lindsey. Following to their stunning cover of the famous “What You Won’t Do For Love” by Bobby Caldwell, and “Baby Come Back”, the underground AOR/Blue-Eyed-Soul classic from The Player, the duo this time takes over “Georgy Porgy” by Toto.

As usual Mato’s unique reggae production skills delivers a blazing version of the multi-platinum worldwide hit, and Ethel Lindsey’s vocals match perfectly with his strong AOR influence and style. To complete and provide the release with a special twist, they also decided to cover the more underrated French version of the song, originally released by Dwight Druick on his Tanger album.

Ethel Lindsey is currently preparing his 1st album to be released on Favorite Recordings, Ethel has a long music and singing experience, unless an almost blank discography. From his very young age, he’s developed a deep passion for AOR and Blue-Eyed-Soul artists.

Starting his reggae production career in 2006, Thomas Blanchot (aka Mato) has released music through various projects on EDR Records, Big Singles or Makasound... In the meantime, he developed a real trademark: taking over classic French, Hip-Hop, OST, Classical or Pop songs, into roots reggae-dub new versions. His 15 years collaboration with Stix Records and label honcho Pascal Rioux gave life to many masterpieces and the story seems far from the end…

Shards is a collection of pieces originally written for various film and TV soundtracks
Tim Hecker has scored over the last half decade.

These compositions were originally written for scoring projects including Infinity Pool, The North Water, Luzifer, and La Tour.

Press quotes for No Highs (2023):

"Tim Hecker has become one of the most pre-eminent and nuanced electronic producers of his
generation." New York Times

"Hecker pairs expansive and bright songs with more repetitive compositions, capturing the beauty in uneasiness and vice versa…” Resident Advisor

“It's somewhere between a replenishing bath and an out-of-body experience.” All Music

"The shapes it makes in the air are often wounding, but also graceful. And like all of his work, it is
devastating in the best way possible.” The Quietus

"The love of creation seems to be what drives him and that’s a special thing to be cherished.” New Noise Magazine

“To his credit, Hecker isn't just good at this stuff - he helped write the playbook.” Boomkat

With an intrigue for a particular niche of old UK hardcore which takes cues from Sheffield bleep ambience, heady rave futurism and soft, almost new age synth pads, Blank Mind presents ‘Lost Paradise: Blissed Out Hardcore 91-94’. Though the records gathered for the compilation span a short three-year period and bridge the gap between scenes, the collection manages to find a sweet spot where the influence of Warp’s Artificial Intelligence, back room chill out sonics and the nascent jungle boom meet with elements of Italian piano house and slower breakbeat cuts.

Opting to focus on atmosphere to highlight shared connections; in this case the duality of often serene and calming soundscapes with frenzied breaks and bass (see Hedgehog Affair’s ‘Parameters’ and Luxury’s ‘Twirl’ respectively); Lost Paradise is a formidable collection of tracks plucked from a thriving time for British dance music experimentation. The general themes of ascension and escapism channelled through digital samplers are also inescapably linked to a turbulent time in politics, beginning in the post-Thatcher years and culminating in the year the harshest anti-rave Criminal Justice Act came into force.

Initially building the compilation around DJ Mayhem’s track ‘Inesse’, Blank Mind label founder Sam Purcell and Amsterdam based producer Tammo Hesselink began a process of swapping favourites and deep cuts to spread across this 2x12” doublepack. The compilation avoids any obvious centrepieces through masterful sequencing, allowing for moments of refrain and tempo changes in a way that helps add to their overall vision of what this music is and can be; “We wanted to frame hardcore in a different light, looking at this idea of ecstasy through the traditional meaning of the word and exploring that symbolism”. By drawing from what some might consider the softer edges of the movement, the pair offer a look into the relevance of these tracks in the contemporary era, where the past years have seen both an explosion in popularity of old ambient/new-age music and a certified jungle revival.

f11 FLRNTN, Benjamin Duchenne - "Last Man Standing" (feat Sivan) (1:08)
f12 Nicholas Gunn & Harshil Kamdar - "Here I Am" (feat Alina Renae - Richard Durand remix) (1:08)
f13 DJ TH X TH3 ONE X Sue McLaren - "Everything To Me" (1:08)
f14 Matty Ralph - "Te Adoro" (1:08)
f15 Armin Van Buuren & Vini Vici - "Sarabande" (feat Anna Timofei) (1:08)
f16 Lilly Palmer - "Hare Ram" (1:08)
f17 David Forbes - "Techno Is My Only Drug" (1:08)
f18 Armin Van Buuren - "Blah Blah Blah" (Lilly Palmer remix) (1:08)
f19 Armin Van Buuren - "The Road To Your Destination" (A State Of Trance Year mix 2024 outro) (1:14)

Patchwork Inc. is a multi genre music collective based in Chicago. Inspired by the intricate and repetitive patterns on a quilt, deep grooves are stitched together with vibrant threads of analog synths, fat bass, Fender Rhodes, and a plethora of percussion to form a uniquely personal piece of art. "Whatever Makes You Happy," comes on like one of those unseasonably warm days in late fall. Flute, synth, and congas flutter like a cool breeze before giving way to a sunny and sultry hook. North Carolina native Taylor Williams brings a D'angeloesque vocal to a Roy Ayers style instrumental resulting in a mosaic of neo-soul and jazz-funk. The record's flipside evokes more of an idyllic fall day. The kind of day where you can throw on your favorite jacket and endlessly stroll down a tree-lined path as amber leaves fall to the ground. Chicago journeyman and musical prodigy Wyatt Waddell effortlessly layers his voice over the backbeat of "Last Forever," resulting in a medium-fidelity banger that could be confused for a I Want You-era Marvin demo.

After two pandemically conditioned ‘reaction’ albums - Yay! (2023) and Neigh!! (2024) - a few non-album singles and a compilation album, a downsized and sleek Motorpsycho is back where we all know and love them, with an epic, sprawling double album, filled to the brim with inventive, organic and ecstatic rock-based music. Rejoyce Psychonaut! This eponymously titled, 11 song work, has exactly as much variety & diversity, accord and discord, as one expects from a band that has released a few albums before, and that these days must be regarded as an institution in European rock. From concise 3min-something pop-rockers, to 20mins plus progressive epics, via acoustic intimacies and psychedelic wig-outs, this is concentrated Motorpsychosis: commenced Rebis, countdown initiated. Ever closer. Ever sharper... Since the traditional 3 or 4 piece rock band seems to be a dying breed these days, and MP always was a band in flux anyway, a new pragmatic era has begun in the Psychoverse. The band has, in what one might call alchemical terms, been ‘dissolved and purified’, and is by now again reduced to the core two founding members HMR & BS. This is nothing new, it has happened a few times before, but these days they are also the owners and creators of the record company NFGS, which is now the hub of all recorded band activity, and Motorpsycho marks the final severance of existing ties to other labels for the first time in 35 years. If ‘freedom is free of the need to be free’, this is it. Yikes! The minimalist title of the album is then not just easy to remember, it’s also a statement: a new era has begun in the Psychoverse, a state of affairs reflected in execution and details as well as title, if not perhaps, in ambition or size: “Senex psittacus negligit ferulam” *. This is a time of new beginnings for a band that has spent two years consolidating and reseting before charging ahead anew on a new path, trumpets blaring (...and trumpets don’t come much more blaring in the Psychoverse than with this grandiloquent hyperbole. Good fun! ). New day rising indeed. The core band was adroitly helped by a gaggle of greats from all over the Scandinavian musical landscape on these recordings: drummers Ingvald Vassbø and Olaf Olsen, string arranger/violinist Mari Persen, vocalist Thea Grant, and - as usual - honorary psycho, brother Reine Fiske, were all fellow travellers on this musical journey. Motorpsycho was co-produced by the band and Deathprod, and mixed by Andrew Scheps. Motorpsycho are not the best at what they do, they’re the only ones that do what they do. NFGS2025 *: “Senex psittacus negligit ferulam,” or “An old parrot doesn’t mind the stick.”

Enxin/Onyx, the duo of Nicky Mao/Hiro Kone and Tot Onyx (formerly group A), joins Other People with their debut album "In Rupture," capturing the same mesmerizing energy for which their live sets have become known.

“In Rupture” is not painless but in rupture lies possibility. The elasticity of this time pitching us across unknown terrain, revealing new potentialities, eclipsing static being. Whether in breach, collision,shimmer or severance, Enxin/Onyx explores these as occasions for transformation. Peeling back the layers through discord and harmony, exciting the inversion of expectation, towing the listener to depths and back up again to illuminate the senses. At times metallic and feral, at others murky and sharp, each song serves as an offering for all that is in rupture; body, spirit, land, ecosystem.
The opening track “A Void” calls to mind some mutation in its mechanical ecstasy, but for what purpose remains unknown. Even in the near moments of stillness, “Needle Pierces the Threshold” breathes a forceful disquietude. Tommi’s vocals pulling the listener down into some subterranean
madness, to unravel upwards from all sides, flooding the once parched landscape. In “Embers Kissthe Eye”, all of time emerges in one moment, compelling the subject’s gaze towards a new horizon.
The album follows its subjects through exile, exhumation and discovery. Through this process plates shift, fissures are revealed and what once appeared to be indomitable absolutes crack, pointing towards their inevitable collapse. To be in rupture is regeneration, to be in rupture is to return.

Two records came out in 1988 that forever changed the perception of "experimental" or "serious" music produced in Portugal. These were "Plux Quba" by Nuno Canavarro and "Música de Baixa Fidelidade" by Tózé (António) Ferreira. Both were released by the same label - Ama Romanta -, an influential independent imprint closely linked to avantgarde pop band Pop Dell'Arte. Because those records appeared in what could be perceived as an "alternative pop" framework, they rescued this difficult music from Academia. It helps that Canavarro played in a successful new wave pop band (Street Kids) during the period 1980-83. By association, being a friend since 1976, António was in close contact with many of the musicians and bands that were part of the equally celebrated and detested Portuguese Rock Boom (roughly 79-82).

He was not a musician then but through his friendship with Canavarro, who had the means to acquire electronic equipment, António became involved with that equipment and shared Canavarro's passion for experimentation and curiosity for knowledge. They tried to get hold of as many technical magazines as possible and learn while testing ideas. In 1983, Street Kids were about to break up, young lives drafted into the Army and maybe, in Canavarro's case, a whole new passion for challenging music similar to his bandmate Nuno Rebelo, by then in the process of discovering a wide range of "other" music mainly through Jorge Lima Barreto. Barreto, who had started Telectu with Vítor Rua, possessed a huge book and record collection and, like Rua before them, Canavarro, Rebelo and Ferreira became fascinated by the pool of knowledge they now had access to by frequenting Barreto's house in Lisbon. He was roughly a decade older, had published several books and other writings throughout the 1970s, cultivated an anarchic stance and a penchant for cultural indoctrination. Rebelo was the first to be introduced via his contact with Rua (who had invited him to play in his other band GNR).

Overwhelmed, he felt the need to share his enthusiasm with friends and eventually took a few to the house in true pilgrimage fashion. To see the Light. Among the few he led there was even João Peste, founder of Ama Romanta. Canavarro and Ferreira preceded him.

Ferreira recalls an exciting learning process added to his experiments with Canavarro's array of synths such as the Korg Ms 20, Korg polysix, ARP Axxe, Roland SH-01, the Ensoniq Mirage sampler... He read in a magazine article about someone who had studied at the Institute of Sonology (then in Utrecht, Netherlands) and went there during a vacation trip in the Summer of 1983. He became excited by the prospect of studying at the Institute but money was a problem. Canavarro, on the other hand, was admitted there in the following year. Back in Portugal, Ferreira eventually abandoned his Chemical Engineering studies in Lisbon's Technical Institute in favour of a more focused music practice. He collaborated with Telectu during 1984 and 85 as a sort of technical engineer, implementing some recording solutions and background tapes and went to work at a thermoelectric power plant in Sines, hoping to make enough money to fund his musical studies. He did and proceeded with the paperwork for admission at the Institute of Sonology, now based in The Hague. António studied there in 1986-87 and the present album includes two compositions developed at the Institute: "More Adult Music" and "This Is Music, As It Was Expected", both featuring the voice of Rodney Waschka II. Among other activities and talents, Rodney is an expert in computer music and to António his voice sounded similar to Robert Ashley's, whose work he admired.

What happened at the Institute was a systematization of António's self-taught practice. Computer software, Musique Concrète, noise and silence, organisation of abstract ideas and sounds. The original notes on the back sleeve of the LP give some indication of process and thinking, but a more detailed account was given by António in the liner notes of the CD reissue in 2002, which are also included in this 2025 LP reissue.

The music sounds deep and detailed, despite the fact of António calling it low-fi ("Baixa Fidelidade"). It flows like an improvised performance where several musicians might be responding to each other, respectful of their mutual space. Drama occurs, as a natural emotional connection is sought by the listener. Piano, bells, drone, processed voices, even the clear narrative of Rodney Waschka II, contribute to create a sort of alternative perceptual reality. The sounds are almost tangible, more a part of the physical world than ethereal manifestations and thus it would not be correct to invoke "ambient music" as a selling point. But although "physical" and distinct, this music is still alien, more so in Portugal's 1988 environment. In March, helped by Canavarro, António set up a home studio and there he recorded the remaining material for this album: "Algumas Pessoas Olharam O Sul E Viram Deserto", "Um Som, Seguido De Uma Cena Negra E Malva" and "O Verão Nasceu Da Paixão De 1921".

"Música de Baixa Fidelidade" stands not only as a proof of great resilience but as one of those magnificent works of art coming from someone who balanced technical inclination and emotional sensibility. Because of that, Tózé Ferreira is able to decode the phantom world of sound for anyone who cares to experience the sensation of inhabiting a version of the Future. First ever vinyl reissue, reproduction of the original artwork with an additional insert. Made in collaboration with the artist and the support of Paulo Menezes (Plancton Music), who provided valuable assistance. Remastered by Taylor Deupree.

The new recording of The Book of Sounds is an intimate exploration of the piano by pianist Carlos Cipa - a way of looking into the sound, of listening into the moment when Cipa's fingers press down on the piano keys. The Book of Sounds, composed between 1979 and 1982 by composer and pianist Hans Otte, is a musical pendulum movement of one hour in twelve 'pieces', as the composer himself describes them. Chords and melodies repeat themselves, sometimes quickly, sometimes slowly; they follow each other in harmonic cadences and yet never dissolve - a timeless back and forth.
The Book of Sounds is the European-German answer to the concert music of American minimalism. But it is also the essence of many questions about society and the human condition at that time. Inspired by Zen Buddhism, Otte was convinced that a return to simplicity, to the unagitated - a piano, harmonic cadences, a middle register - frees the listener to focus on what is really important in art: the human being. Introspection begins with listening. Seldom have simple chords and melodies been so selectively staged. It is a process of endless reduction - no wild sound dramaturgies, no climaxes, hardly any beginning or end. The interpreting pianist simply prepares a tableaux of perception for the listener. Cipa naturally sets accents; he recorded the 12 pieces on three different pianos - a Steinway grand piano, a Yamaha piano, and a Yamaha CP-70, an early electric piano - to help shape the tonal characteristics.
Carlos Cipa hits the nerve of the times with this new recording. What music can be as art is still up for debate today. The Book of Sounds is not 'art-proof' and in this it is still a provocation today; absolutely unspectacular and practising relaxation. It is a wonderful invitation to feel, experience, and perhaps even find oneself in the confrontation with the work - and for a moment not to fuel the discourse. Cipa, who otherwise appears as a composer himself, here carries out Otte's intended gesture of withdrawal in a double sense and steps into the background as creator but also interpreter, in order to bequeath The Book of Sounds to the loudspeakers and headphones at home in one step forward.

Anxious’ second album Bambi arrives this winter on Run For Cover Records. It’s been a whirlwind few years for the Fairfield, Connecticut five-piece – since the release of their debut album Little Green House, there’s been little time for anything other than consistent touring with bands like Hot Mulligan, One Step Closer and The Wonder Years. Somewhere during that endless grind, vocalist Grady Allen was sitting in a hotel room and stumbled upon a name typed into a long-forgotten memo on his phone: Bambi. “We should have named the band Bambi,” he recalls admitting to his bandmates. Bambi stuck with the band after that night and eventually it evolved from a “what-if” into the name of Anxious’ second full-length album.

Bambi is a record of remarkable growth, depth, ambition, and energy. It takes all the unsolvable and unavoidable problems of exiting adolescence and makes them resonate in urgent and authentic new ways. The album has deep roots in the storied lineage of Northeast tri-state hardcore and emo, but it also fully embraces the widescreen alternative rock songwriting at which Anxious have previously only hinted. It’s a statement of purpose, the kind of album that comes from a band reconciling where they’ve been with where they want to go. Bambi is the sound of Anxious putting everything on the line–and coming out on the other side better than ever.

Inspired by “big swing” records like Blink-182’s self-titled or Jimmy Eat World’s Clarity, Anxious set out to redefine the band without losing sight of what made them work in the first place. Tracks like “Head & Spine,” “Sunder,” and “Tell Me Why” showcase the scope of Anxious’ evolution, tapping crunchy ‘90s rock guitarwork, layered ‘60s-esque harmonies, and crisp, modern production that captures the unrivaled energy of seeing the band play live.

Berlin based producer CONCEPTUAL is back home after his Not an easy one Ep, again providing his own vision on techno, full of sonic landscapes, detail and intelligence.

Release starts with Approach slowly a brief atmospheric intro that sets the pace for what comes next in Il silenzio degli innocenti introducing the rhythmic pulse from the first bar with almost all elements into he equation, this is a minimalistic tool where percussive elements evolve in a subtle manner all over the arrangement.

No more excuses continues in the mood, adding more spice to the formula with reverberated details, growing mental sequences and the usual complex groove. Intense and mental all in one.

Sand fury follows, with atmospheres colliding with rugged components, evolving all together in a progressive arrangement, a superb tool to enhance your mixes properly.

Miles per hour introduces you into another sonic realm, using elastic synth lines, a wise reverb work and a sensation of infinite space combined with floor intensity. Again a proper intelligent missile for the adequate dancefloors out there.

Simone Scardino is one of those few creators that always pushes his sound one step further and we are super proud to have him onboard again.

Johnny and Edgar Winter - Together: Live (1976) is the first ever album featuring both brothers, Johnny Winter (guitar, vocals) and Edgar Winter (saxophone, vocals). Released just three months after Johnny Winter’s Captured Live!, it is composed entirely of rock and roll and soul standards. This album is a chance to hear The Edgar Winter Group (Edgar on saxophone, Rick Derringer on guitar, Dan Hartman on piano and Chuck Ruff on drums) playing with Johnny Winter’s band (Johnny and Floyd Radford on guitar, Randy Jo Hobbs on bass and Richard Hughes on drums) together on a same stage. The album was live recorded at San Diego Sports Arena and Swing Auditorium.

This MOV release comes as a limited edition of 1000 individually numbered copies on white marbled coloured vinyl.

All the shades of green. Plants. Water. The absolute necessities of life. Music, too, is an absolute necessity. To capture both color and sound in a bottle to put atop a piano like a houseplant. A clock. A fern. Synesthesia. This music is meant for that. To close your eyes and see green. To drown in the color of piano. A melancholic covey that pulls hard on the heart strings musically and lyrically, brushed over with a plethora of improvisation in smooth watercolors.

With Tim Hill’s new trajectory, we are offered a fresh neuron sprawl, branching beyond lyrics in interrupted pieces of sound. He takes our reptilian brains and welds them to our unborn futures, placing us inside of his droplet. Here, we're forced to reflect out, something singular multiplies, nature brings her face in, something shifts, our speed changes, the Self refracts and what's left jumps on sustained lines that eventually arch into meditation milk. It becomes a karmic cleanse of the amygdala, a launch from normal feeling life. Tim takes the risk, committing to diving deeper into his own bottomless pool of art, gifting us with sensory treats that dilate our old perimeters. It's sky as theatre, handing out everything but answers to questions. And where do we go? Where starlight mingles. Where minds never land.

A seasoned musician in all forms, Tim Hill has toured the world as a keyboardist, guitarist, saxophonist, and drummer, with a long time stint with LA group the Allah Las, and well known acts such as Nick Waterhouse, Curtis Harding, PAINT, and others.

Agonis debut album Neutropia gets a high profile and well deserved remix treatment. Originally released in 2021 on his own co-founded amenthia recordings, the album was a strong statement in terms of sound. Formerly known for his excellent deep and incantatory techno, Neutropia opened the door to show more of his far reaching musical interests. It became a vital document of genre bending electronics, fusing half paced drum & bass, rolling amen breaks, forceful frequencies, dreamlike trip-hop and futuristic techno all together. For Neutropia Remixed the sound palette even got wider. Four artists that are highly appreciated by the amenthia camp were asked to rework their track of choice and make it their own. Carrier drops the pace of 'Thermo' and adds a brilliant touch of his stripped down half-time rhythm excellence. Christina Vantzou continues to build on the powerful frequencies that were present at the full original album with a mesmerizing drone trip. Amsterdam resident upsammy adds her glistering dynamics to the dark 'Algoflash' and Felix K does what he does best.. The Hidden Hawaii/Nullpunkt originator turns the rolling 'Pyrchid' into a heady drum work out.

Since the early days of electronic music, white label records have been inextricably linked to DJ culture and the ways in which underground music has been disseminated. unknown - untitled draws on the white label concept withholding details about the producers behind the tracks and leaving listeners to draw their own conclusions about what they’re hearing.

The new concept label will focus primarily on vinyl releases, with previews of the tracks available online, but information about the artists only to be found within the record sleeve itself. Several weeks after the vinyl is out, there will be a digital release that reveals who was behind the tracks. The roster will range from new and emerging producers to more established artists looking to explore new sounds.

The label's first release, presents three gorgeous slabs of UK schooled techno steeped in psychedelic textures and sub-low pressure. With online personas often eclipsing the focus on music itself, here lies a return to form.

The Complete Film Music Composed by Robert Aiki Aubrey Lowe - 2xLP 180 Gram Colored Vinyl - Old-Style Tip-On Gatefold Jackets with Satin Coating and a Built-In Booklet Page - Composer Liner Notes - 12 Page Art Gallery Exhibit Catalogue // In partnership with Universal Pictures, Metro Goldwyn Mayer (MGM) and Monkeypaw Productions, Waxwork Records is thrilled to present CANDYMAN Original Motion Picture Soundtrack by Robert Aiki Aubrey Lowe. Directed by Nia DaCosta (next year's The Marvels) from a screenplay by Oscarr winner Jordan Peele, Win Rosenfeld and DaCosta, Candyman, currently in theaters nationwide, is a fresh take on the blood-chilling urban legend and a contemporary incarnation of the 1992 cult horror classic. About Robert Aiki Aubrey Lowe: Robert Aiki Aubrey Lowe (b.1975) is an artist, curator and composer who works primarily with, but not limited to, voice and modular synthesizer for sound in the realm of spontaneous music. Along with analog video synthesis works, he has brought forth an A/V proposal that has been a focus of live performance and installation / exhibition. The marriage of synthesis and the voice has allowed for a heightened physicality in the way of ecstatic music, both in a live setting and recorded. The sensitivity of analogue modular synthesis echoes the organic nature of vocal expression, which in this case is meant to put forth a trancelike state. Lowe's works on paper tend towards human relations to the natural/magical world and the repetition of motifs. The deluxe 2xLP vinyl release features 180-gram colored vinyl, old-style tip-on gatefold jackets with satin coating and a built-in booklet page, liner notes by composer Robert Aiki Aubrey Lowe, a 12-page art gallery exhibition catalogue, artwork by Sherwin Ovid and Julian Williams and puppetry art by Manual Cinema.

Superior Viaduct and our new artist label, W.25TH, are proud to continue to be the home for Cindy Lee with the physical release of the celebrated album Diamond Jubilee. Universally praised, shortlisted for the 2024 Polaris Music Prize, and already hailed by Pitchfork as the 3rd best album of the 2020s, anticipation and conversation around the record has been high.

Cindy Lee is the performance and songwriting vehicle of Patrick Flegel (who previously fronted influential indie group Women). Over several albums, Flegel has combined delicate melodies and sheer beauty with moments of experimentation. With Diamond Jubilee, Flegel’s undeniable songcraft comes to the foreground, embracing a more instant connection and accessibility. Timeless tales of love and longing, surrounded by sticky hooks, take the listener on an unforgettable journey. Diamond Jubilee was written and recorded over several years by Patrick Flegel in Toronto, Durham, Calgary and Montreal at Realis- tik Studios. The album was mixed by Steven Lind, who also contrib- utes to several tracks and co-wrote “Baby Blue,” and was mastered by Joshua Stevenson.

Triple LP on black vinyl comes with 24” x 36” poster.

Bandler Ching makes a bold return from within the vibrant, Brussels music scene with their sophomore album, Mercurial. In this latest offering, the band edges even closer to the ever-evolving world of electronics and dance music while retaining the improvisational spirit that has always defined their sound at its core.
On Mercurial, the band navigates the fringes of industrial trap, while expertly bending and pushing the possibilities of their instruments. Ambroos De Schepper's saxophone transcends its traditional role even more, becoming a dynamic, shapeshifting entity capable of evoking haunting melodies one moment and otherworldly harmonies the next. Federico Pecoraro's bass transforms into ethereal ambient pads that drift through the mix like vapor, adding depth. Meanwhile, Olivier Penu's drums form the rhythmic backbone, laying down eclectic grooves that defy the constraints of any single genre, merging seamlessly from trap to electronica, hip-hop, and beyond.
Known for their ability to blend disparate genres and experiment with textures, Bandler Ching forges a new instrumental language, one that feels untethered to convention and free from classification. It's not a genre-crossing experiment-but a daring move towards a new instrumental genre in the digital age.
Fans of experimental electronic icons like Aphex Twin, Squarepusher, and Ceephax Acid Crew will find much to admire in the upcoming Mercurial album- it's a next step in pushing to a new musical territory and boldly casting off the jazz genre in the process.
It's been two years since Bandler Ching first released their debut album Coaxial on Sdban Ultra. Kicking off the album campaign with an album release show in Volta, the Brussels hotbed for a new generation of Belgian artists. What followed was a series of concerts in key venues and festivals across Belgium and the Netherlands to honorable reviews in national and specialized press.

Große Neuigkeiten von Milow: Das 7. Album des Belgiers 'Nice To Meet You' wird am 20. Mai erscheinen. Milow dazu: "Ich habe in den letzten 2 Jahren an diesem Album gearbeitet und es in Brüssel, Berlin und Antwerpen mit einigen der besten Musiker und Produzenten aufgenommen, mit denen ich je zusammengearbeitet habe." Grande nouvelle de Milow : le 7e album du Belge 'Nice To Meet You' sortira le 20 mai. Milow déclare à ce sujet : "J'ai travaillé sur cet album au cours des deux dernières années et je l'ai enregistré à Bruxelles, Berlin et Anvers avec certains des meilleurs musiciens et producteurs avec lesquels j'ai jamais travaillé".

Malte Huck presents ‘has-been’ under the name BEACHPEOPLE, his first album as a solo artist. A ‘has-been’ is someone who used to be once famous. The use of a past tense implies that this is no longer the case. To adopt such a label, you not only need a certain self-deprecating sense of humour, but also a temporal and emotional distance from what once was. Four years have passed since he left AnnenMayKantereit as bassist. Four years is not a lot of time when measured in terms of a human life, but enough to make a fresh start.

Malte Huck presents ‘has-been’ under the name BEACHPEOPLE, his first album as a solo artist. A ‘has-been’ is someone who used to be once famous. The use of a past tense implies that this is no longer the case. To adopt such a label, you not only need a certain self-deprecating sense of humour, but also a temporal and emotional distance from what once was. Four years have passed since he left AnnenMayKantereit as bassist. Four years is not a lot of time when measured in terms of a human life, but enough to make a fresh start.

Bob Balch here. When Gary Arce mentioned that Yawning Man was gonna record and we should do another round of Yawning Balch jams I was super stoked. I'll always jam with those guys. Once the invite was extended I knew I had to drop some money on new pedals. Haha. Not that I don't have enough already but jamming with Yawning Man means you have to build a massive pedal board and try to get the most "out there" sounds you can. At least that's what it means to me. Another aspect is once we start jamming I like to improvise riffs but keep them in mind so I can return to them throughout the jam. It was an honor to share a few hours playing with those dudes and I'm always surprised how much material we get out of it. Volumes 3 and 4 were recorded in one five hour session April 20th, 2024 in Joshua Tree, CA.

Transparent Blue Vinyl.Limited to 300 copies. Bob Balch here. When Gary Arce mentioned that Yawning Man was gonna record and we should do another round of Yawning Balch jams I was super stoked. I'll always jam with those guys. Once the invite was extended I knew I had to drop some money on new pedals. Haha. Not that I don't have enough already but jamming with Yawning Man means you have to build a massive pedal board and try to get the most "out there" sounds you can. At least that's what it means to me. Another aspect is once we start jamming I like to improvise riffs but keep them in mind so I can return to them throughout the jam. It was an honor to share a few hours playing with those dudes and I'm always surprised how much material we get out of it. Volumes 3 and 4 were recorded in one five hour session April 20th, 2024 in Joshua Tree, CA.

Exploring late-night, after-hours meditations on sound; ‘Everything Above The Sky (Astral Travelling with Luke Una)’ is a new compilation by the titular DJ, promoter and enigmatic cultural curator. Off the back of the E Soul Cultura phenomena, this compilation comes at a timely point in Luke’s rich career as he soars the heights of playing all over the world. Avoiding any chance of his sound being pigeonholed, Luke has put together a tracklist of songs and music that have a transcendental feel, after coming off the grid, going back to source, outside the city walls .

Music has long been believed to aid out of body experiences and many of us have searched long and hard for a combination of those elusive ingredients that might alleviate some of the monotony of everyday life, our daily routines and obligations, and those things that seem to block us from the spirit of the universe. In this collection, Luke selects music with all the right ingredients in just the right quantities, allowing the listener to engage in an esoteric journey of enlightenment through sound. Being a prolific collector of music, Luke initially delivered enough tracks to compile several compilations, making the licensing process the biggest effort to date for the label. The music moves softly and slowly, never becoming too intrusive, exemplifying the wonderful elevating properties of simple songs played from the heart.

Luke’s Everything Above The Sky manifesto reads, “Astral Travelling in the meadowlands with acid folk, spiritual jazz, around midnight hocus pocus, cosmic psychedelic soul, magical spellbound whirling swirling love songs, Brazilian ballads of light into machine soul gospel utopia dreaming, Balearic bossa, Outer Space ancient African drum, the breath of trees, escaping the big bad modern world, gathering round winter fires, walking amongst the bracken in Padley Gorge in late summer twilight, overlooking the Hope Valley, escaping ego, detaching and finally letting go amongst the stars with the slowly floating people. It’s beautiful beyond. Everything above the Sky”.

Beginning his career as an original Sheffield house young blood in the mid 1980s, Luke’s move to Manchester and partnership with Justin Crawford saw the birth of Electric Chair, a cornerstone cult night in the UK underground club scene. Then came Electric Elephant, a Croatian festival paying homage to their wild eclecticism from Balearic to Brazilian to É Soul, house, disco and techno. Luke’s much loved, long-running Homoelectric night and more recently Homobloc sell out festival for 10,000 souls has been at the forefront of Manchester’s LGBTQ+ cultural landscape. Luke’s Friday evening show on Worldwide FM captured imaginations and became a cult four-hour must-listen monthly journey for fans all over the world. Today, Luke remains, as ever, at the forefront of a changing milieu, pairing the momentous legacy of Manchester’s 80s and 90s scene with the delivery of what today’s club communities need to get down.

Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.

Purple Tree Fog Vinyl. Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.

Neue Musik von Anton Newcombe von BRIAN JONESTOWN MASSACRE und DOT ALLISON (u.a. ONE DOVE, Solo, Sonic Cathedrals). Eine Zusammenarbeit zwischen den beiden Soundtüftlern. Während des Lockdowns in Berlin und Schottland aufgenommen, arbeiten Dot Allison und Anton Newcombe als All Seeing Dolls zusammen. Produziert von Anton Newcombe in Berlin, schickten er und Dot sich gegenseitig Gesangs- und Musikideen, um Dots eindringlichen Gesang mit ihren Fähigkeiten als Multiinstrumentalisten zu vereinen. Auf dem Album finden sich Gitarre, Ukulele, Klavier und Autoharp, gespielt von Dot, sowie zusätzliche Beiträge von Hakon Adalsteinsson (Gitarre) und Uri Rennert. Im Interview mit Clash Magazine sagte Dot über den Entstehungsprozess: "Wir haben unseren Weg gefunden... viele der Songs wurden während des Lockdowns geschrieben... wir sprachen über Musik, das Leben, was wir für wichtig halten und teilten Songs, die wir mögen und sprachen über Künstler, die wir mögen... wir beschlossen, Ideen auszutauschen... also schickte ich etwas mit Autoharp und Stimme oder Akustik und Stimme, und er schickte mir tolle Ideen zurück... wir haben uns gegenseitig unterstützt und gestärkt... und ich sagte zu ihm, dass es ein bisschen wie ein kleines Weihnachten ist, die Tracks zu hören, nachdem er sie zurückgeschickt hatte." Auf erstem hören musikalisch näher an DOT ALLISONs letzten Sonic Cathedral-Output, finden sich hier die eher BRIAN JONESTOWN MASSACRE-typischen Ideen in den klanglichen Tiefen wieder.

Neue Musik von Anton Newcombe von BRIAN JONESTOWN MASSACRE und DOT ALLISON (u.a. ONE DOVE, Solo, Sonic Cathedrals). Eine Zusammenarbeit zwischen den beiden Soundtüftlern. Während des Lockdowns in Berlin und Schottland aufgenommen, arbeiten Dot Allison und Anton Newcombe als All Seeing Dolls zusammen. Produziert von Anton Newcombe in Berlin, schickten er und Dot sich gegenseitig Gesangs- und Musikideen, um Dots eindringlichen Gesang mit ihren Fähigkeiten als Multiinstrumentalisten zu vereinen. Auf dem Album finden sich Gitarre, Ukulele, Klavier und Autoharp, gespielt von Dot, sowie zusätzliche Beiträge von Hakon Adalsteinsson (Gitarre) und Uri Rennert. Im Interview mit Clash Magazine sagte Dot über den Entstehungsprozess: "Wir haben unseren Weg gefunden... viele der Songs wurden während des Lockdowns geschrieben... wir sprachen über Musik, das Leben, was wir für wichtig halten und teilten Songs, die wir mögen und sprachen über Künstler, die wir mögen... wir beschlossen, Ideen auszutauschen... also schickte ich etwas mit Autoharp und Stimme oder Akustik und Stimme, und er schickte mir tolle Ideen zurück... wir haben uns gegenseitig unterstützt und gestärkt... und ich sagte zu ihm, dass es ein bisschen wie ein kleines Weihnachten ist, die Tracks zu hören, nachdem er sie zurückgeschickt hatte." Auf erstem hören musikalisch näher an DOT ALLISONs letzten Sonic Cathedral-Output, finden sich hier die eher BRIAN JONESTOWN MASSACRE-typischen Ideen in den klanglichen Tiefen wieder. Exklusiv für den Indie-Handel: Transparentes mit farbigen Splatter Vinyl

As part of the 60th anniversary celebrations of iconic series Doctor Who, one of the show’s most renowned tales underwent an out of this world update as it received an artistic colourisation.

Originally transmitted in December 1963 to February 1964, The Daleks were introduced to audiences and soon became one of the Doctor’s most formidable and enduring foes.

The story follows the very first crew of the TARDIS as they land in a petrified forest on an alien planet. Determined to explore, the Doctor (William Hartnell) leads his

companions into the metal city, where they discover danger at every corner and what will become his deadliest enemy, the mutant Daleks.

These seven original 25-minute episodes have been colourised and weaved together into a 75-minute blockbuster.

With brand new sound, a brand-new soundtrack - created by Mark Ayres utilising elements of Tristram Cary’s original music with newly recorded score –

The Daleks has been updated, whilst ensuring the original classic story remains as thrilling as it was when it began in 1963.

Memorial Waterslides" ist das Debütalbum von MEMORIALS, dem Duo bestehend aus Verity Susman und Matthew Simms (zuvor bei Electrelane und Wire). Es handelt sich um ein surrealistisches Pop-Album, das sowohl zeitlos als auch zeitgemäß ist und eine seltene Mischung aus klassischem Songwriting und Avantgarde-Attitüde aufweist. MEMORIALS kreieren einen Panorama-Pop, der auf Vertrautes und Fremdes zurückgreift, aber bekannte Pfade aber auch neue Wege beschreitet. Mit ihrem verspielten und experimentellen Stil, kombiniert mit einer Liebe zu Melodien, stehen sie in einer Reihe mit Broadcast, Portishead, Arthur Russell, The Velvet Underground, Yo La Tengo und Tortoise. Das Album ist voll von Bildern, die eine verlorene Zukunft, eine verschleierte Gegenwart und eine tagträumerische Vergangenheit heraufbeschwören, wobei jeder Song eine Rolle bei der Schaffung einer wirbelnden Breitwandatmosphäre spielt und den Hörer mit auf die Reise nimmt. Der Sound des Albums, das die beiden komplett selbst produziert haben, wurde von den Experimenten mit Tonbändern inspiriert, mit denen sie zunächst auf der Bühne herumspielten, als sie begannen, ihre vielschichtigen Aufnahmen für Live-Auftritte als Duo zu entwickeln. Nach ihren gefeierten 2023-Soundtracks "Women Against The Bomb" und "Tramps!", einer Europatournee mit Stereolab (sie wurden als "Stereolabs böser Zwilling" bezeichnet) und einem neuen Musikauftrag des Centre Pompidou in Paris kamen Verity und Matthew auf MEMORIALS in umgekehrter Richtung an, indem sie ihren Soundtrack-Alltagsjobs entflohen, um kosmische Reisen durch den Gartenschuppen in psychedelischen Rock, abgefahrenen Folk und wilde analoge Elektronik zu unternehmen. "Exciting and unpredictable" The Guardian. "Everything you'd expect from a duo adept in the strange and esoteric, while also in thrall to pop music's melodic bent." The Quietus. (Limitiertes) Pink farbenes Vinyl mit DLC sowie Digisleeve-CD!

Tradition shapes your work. For saxophonist and bandleader Shabaka Hutchings, that's something he's long understood. After years spent in the orbit of London's jazz circuit, he examines and reimagines his influences with a dexterity that's unique. Drawing out the vision underlying his new album, he says, I see energy as being a form of wisdom to be passed down through the ages.'

Unpicking the album's title, he continues, "When we study the music, the lives, the words of our master musicians we obtain a glimpse of that artist's essential energy source. This is the core vitality of the individual which leads them to utilise the musical specifics of their chosen genre in a way that mirrors their inner source of power. This is an intuited wisdom that's handed to us from the legacies of our elders.

The album is a document of sessions combining Hutchings with a group of South African jazz musicians he's long admired. His connection to the group was Mandla Mlangeni (bandleader of the Amandla Freedom Ensemble), whom he'd flown there to play with over the past few years. Recorded across just one day, the group drew on their South African lineage - heroes like Zim Ngquwana and Bheki Mseleku - to bring their own slant to the American jazz lineage which is reconfigured in Hutchings' compositions themselves.

Going beyond the jazz greats Hutchings cites, influences are drawn from plenty of other sources: Caribbean calypso, central African song structures and Southern African Nguni music all play a part. Bringing together those ideas with the contributions of his bandmates is, he explains, crucial to what he sees in the role of an album artist. Even though I wrote all the music, for me, the leader of the project isn't the person who writes all the music but the one who has a vision for how certain musical elements will be combined."

A regular sight on stages around London and beyond, playing - and often leading - groups like The Comet Is Coming, Sons of Kemet and Melt Yourself Down, he's part of a generation whose idea of jazz is pointedly unrefined. That's to say, Wisdom of the Elders comes from an artist interested in the indefinable gaps more than fitting into boxes.

Celebrating 50 years of Kahil El'Zabar's Ethnic Heritage Ensemble's legacy and unwavering contribution to Great Black Music. 'Open Me, A Higher Consciousness of Sound and Spirit' is a new Ethnic Heritage Ensemble sound, constantly shifting gears and tempos in a jazz-blues continuum, in perpetual spontaneity, combining their meaningful music history with an innovative approach to arrangements, performance and improvisation. This is Ancient / Future Music for the Now and Beyond.

Open Me is a joyous honoring of portent new directions of the Ethnic Heritage Ensemble; it's a visionary journey into deep roots and future routes, channeling traditions old and new. It mixes El'Zabar's original compositions with timeless classics by Miles Davis, McCoy Tyner, and Eugene McDaniels. Thus, the Ethnic Heritage Ensemble continues affirming their indelible, half-century presence within the continuum of Great Black Music.

For Open Me, El'Zabar has chosen to push the sound of the EHE in a new direction by adding string instruments --the addition of strings opens new textural resonances and timbral dimensions in the Ensemble's sound, linking the work to the tradition of improvising violin and cello from Ray Nance to Billy Bang, Leroy Jenkins, and Abdul Wadud.

Open Me contains a mixture of originals, including some El'Zabar evergreens such as "Barundi," "Hang Tuff," "Ornette," and "Great Black Music" (often attributed to the Art Ensemble of Chicago but is, in fact, an El'Zabar composition).

As a milestone anniversary celebration and a statement of future intent, Open Me effortlessly carries El'Zabar's healing vision of Higher Consciousness of Sound and Spirit.

SHOLTO's 'Letting Go of Forever' is an expansive double LP that digs deep into his other-worldly blend of cinematic soul, and psychedelic library music. Drawing on influences spanning Mozart, Arthur Verocai, Piero Umiliani and David Axelrod, the record sits alongside contemporaries including Robohands, The Ironsides and Surprise Chef.

A captivating listen, well worth the investment of time across its 26-track run time, SHOLTO explores the concept of letting go as a painfully natural ritual, characterising the art of being able to do so as riddled with complexities and anguish. Morbid to some, but beautifully freeing to others, the art of letting go of the idea that anything should be forever can be relieving, allowing us to cherish what is in front of us in the moment.

Be it in the face of the deaths of friends and loved ones or weddings and celebratory moments, everything is just passing, and SHOLTO spins a delicate balance between this dark and light on the record, pursuing the narrative that you can always turn a negative into a positive.

Patchwork Inc. is a multi genre music collective based in Chicago. Inspired by the intricate and repetitive patterns on a quilt, deep grooves are stitched together with vibrant threads of analog synths, fat bass, Fender Rhodes, and a plethora of percussion to form a uniquely personal piece of art. "Whatever Makes You Happy," comes on like one of those unseasonably warm days in late fall. Flute, synth, and congas flutter like a cool breeze before giving way to a sunny and sultry hook. North Carolina native Taylor Williams brings a D'angeloesque vocal to a Roy Ayers style instrumental resulting in a mosaic of neo-soul and jazz-funk. The record's flipside evokes more of an idyllic fall day. The kind of day where you can throw on your favorite jacket and endlessly stroll down a tree-lined path as amber leaves fall to the ground. Chicago journeyman and musical prodigy Wyatt Waddell effortlessly layers his voice over the backbeat of "Last Forever," resulting in a medium-fidelity banger that could be confused for a I Want You-era Marvin demo.

Loyle Carner will release his highly anticipated sophomore record, 'Not Waving, But Drowning' on 19 April via AMF Records.

'Not Waving, But Drowning' follows Loyle's BRIT (Best Male, Best Newcomer) and Mercury Prize nominated, top 20 debut 'Yesterday's Gone'. The bedrock of honest and raw sentimentality that you heard on 'Yesterday's Gone' left an inextinguishable mark on music in general and UK Hip Hop in particular, standing out as an ageless, bulletproof debut.

'Not Waving, But Drowning', Loyle's new album, gives yet more evidence - as if it were needed - of his razor-sharp flow and his unique storytelling ability. Yes, he can rap, but he allies that with the sensitivity of a poet, the observational skills of a novelist, and warmth of your best friend. The album opens with 'Dear Jean', a letter to his mother in which he's telling her that he has found the love of his life, 'a woman from the skies', and he's moving out.

It goes without saying that Loyle's music is hard to categorise, but what is even more impressive is that for someone who grew up listening to Mos Def, Biggie Smalls, Roots Manuva, and Wu Tang Clan, he doesn't sound like any of them. Although he might from time to time give lyrical nods to them, he's no imitator.

Loyle loves cooking. There are two tracks on this album named after chefs. The British-Israeli chef Yotam Ottolenghi, and the now deceased Italian chef Antonio Carluccio. 'Ottolenghi' the first single from the album was featured on the BBC Radio 1 B-list, BBC 6 Music A-list and has already been streamed over 5 million times.

Loyle refers to real life for everything, the title of 'Yesterday's Gone' came from a song of his step father, the title of his new album 'Not Waving, But Drowning' comes from a poem by his grandfather, which in turn came from a Stevie Smith poem. What you hear on the track 'Krispy' is real. He is pouring his heart out to his best friend Rebel Kleff after their relationship went downhill, he invites him on the track to say his piece but he doesn't turn up, so we get a flugel solo instead.

Loyle also has his own personal black consciousness movement. When he refers to his 'fathers' in the track 'Looking Back' he really is referring to two fathers. His biological father, a black man who he knows, but knows very little of, and his step father, a poet and musician who happens to be a white man but died a sudden unexpected death from epilepsy (SUDEP). With no real emotional ties to his biological father, but a deep connection with a deceased step-father, where does a young child turn He succinctly captures many of the great, unspoken, cultural and historical paradoxes of multicultural Britain on 'Looking Back'.

An album like this is hard to find. It is for those who like their Hip Hop to have soul, and their soul to have spirit. This is because it works on so many levels, but it is reflecting the personality of its creator. There are a host of collaborators here, Jorja Smith, Rebel Kleff, Kiko Bun, Kwes, Jordan Rakei, Sampha, Tom Misch and more, but none are overpowering. They blend righteously into place.
Loyle is not bitter with people who have let him down, or a society that lets so many down, but the combination of anger and love he has gives his voice the perfect blend of strength and vulnerability. This might be a coming of age album, but it's also a coming of ageless album. Loyle's 2019 Spring tour - which includes London's Roundhouse - sold out within 20 minutes of being on sale.

Not Waving, But Drowning



A rapper that raps about family is hard to find. The boys in the 'hood' tend not to be that interested in how much a 'brother' loves his mother, or how much he misses his dad, or even how much he misses his best friend. The boys in the 'hood' tend to be obsessed with the size of their cars, girls, bank accounts, and other personal 'possessions'. Loyle Carner's Mercury and BRIT Prize nominated debut 'Yesterday's Gone' (Released 2017), made it clear that he wasn't that kind of rapper. In fact, every time I talk to him about his work we talk about the world, and we tended to confuse ourselves by calling his work rap, poems, or songs, sometimes in the same sentence. They are in truth all of these things.



Here's some poetry.



Honestly I need them.

I hate them but I grieve them

I think I've finally found the reason

Trust

Like the fire needs the air.

I won't burn unless you're there.





'Not Waving, But Drowning', Loyle's forthcoming new album, gives us yet more evidence, (if it were needed), that he still has what rappers call, flow, but he hasn't lost any of his story telling qualities. Yes, the boy can rap, but a rapper with the sensitivity of a true poet, the observational skills of a novelist, and warmth of your best friend. The album opens with 'Dear Jean', a letter to his mother in which he's telling her that he has found the love of his life, (a woman from the skies), and he's moving out. He really loves the woman from the skies, but he still loves his mum, and so he reassures her that there is no competition, and tells her that 'She's not behind me or behind you, but beside we and beside two', his words. Or to put it another way, moving out without moving out. My words.



It goes without saying that Loyle's music is hard to categorise, but what is even more impressive is that for someone who grew up listening to Mos Def, Biggie Smalls, Roots Manuva, and Wu Tang Clan, he doesn't sound like any of them. Although he might from time to time give lyrical nods to them, he's no imitator. He says finding his own voice was something he always found easy. Although young, (in terms of a musical career), he has confidence in his own words and his own voice, and has never been tempted to sound like he's been hanging out in the USA, or rolling in 'Grime' on the mean streets of East London. And so when it comes to the creative process he doesn't simply find a beat to jump on and ride. Beats are important, but they are tenderly layered with samples, keyboards, or live drums, all imaginatively assembled for the laying on of words. Some tracks start with the idea, some with poetry, and some with a verse from a singer or some other melodic inspiration, but there is no formula.



Here's some poetry.



Don't hold any memories of us

Rather hold you everyday until the memories are dust

Yo we only caught the train

Cos you know I hate the bus





A prolific reader, who has dyslexia is hard to find. Add ADHD (Attention deficit hyperactivity disorder) to that and life should become even more difficult. To deal with your difficulties you devise coping strategies, which can differ from person to person. Loyle loves cooking. There are two tracks on this album named after chefs. The British-Israeli chef Ottolenghi, and the now deceased Italian chef Antonio Carluccio. Loyle describes himself as 'weird' because he is happy to read a cookbook as if he was reading a novel or a book of poetry. He has opened a cookery school for young adults not just because he loves food and wants to make more of it, but because it is one of the few things that can focus the ADHD mind. And when it comes to his other love, football, his approach is the same. Focus. He wanted to be a striker he says, up front scoring goals, but found his best position was in midfield because he was able to focus, check options, and see passes ahead of time, providing passes for other players just when they needed them. He says, 'You don't grow out of ADHD, you grow into it.' Loyle is also working with Levi's® on their music project where he is mentoring young musicians over a six month period, culminating at Liverpool Sound City festival.



More poetry.



When the going is tough

I wait till it falls on deaf ears

Hearsay

Without the boundaries of love



He also said, 'Ask most people and they will say that they love their mothers, but most are not going to rap about her'. On his first album Loyle's mum Jean wrote about the 'scribble of a boy' that growing up would take things apart to see how they worked. On this album she speaks with pride about a man who has found his place in the world.



Yes, poetry.



I'm still looking for the answers

Trying to find the right questions

Still waiting for my fathers

But can't break them in to sections



This poetry is serious. Loyle has his own personal black consciousness movement. He told me that he always felt safe at home, and being the darkest one in the family never meant a thing, but then when he had to face the outside world he felt hostility. It shook him up. Now he had to start asking questions, but what were the questions. This is serious. When he refers to his 'fathers' in the verse above taken from the track 'Looking Back' he really is referring to two fathers. His biological father, a black man who he knows, but knows very little of, and his step father, a poet and musician who happens to be a white man but died a sudden unexpected death from epilepsy (SUDEP). So to whom would a young black (or mixed race) kid turn He succinctly captures many of the great, unspoken, cultural and historical paradoxes of multicultural Britain when he says, 'My great grandfather could of owned my other one.' We are a people descended from enslaved people on one hand, and enslavers on the other, something we are still struggling to come to terms with, and this can be apparent in one family. A big book could have told you that, but here we get it in one line on the track, Looking Back.





Loyle refers to real life for everything. The album is peppered with captured moments that he records on his phone. These moments can range from conversations with taxi drivers, to capturing the moment when England scores a goal in the world cup. The title of 'Yesterday's Gone' came from a song of his step father, the title of his new album 'Not Waving but Drowning' comes from a poem by his grandfather, which in turn came from a Stevie Smith poem. What you hear on the track 'Krispy' is real. He is pouring his heart out to his best friend after their relationship went downhill, he invites him on the track to say his piece but he doesn't turn up, so we get a flugel solo instead. Yes people, this is real.



An album like this is hard to find. It is for those who like their Hip Hop to have soul, and their soul to have spirit, this is an album for those who have, (I'm sorry, I'm going to say it), emotional intelligence. This is because it works on so many levels, but it is reflecting the personality of its creator. There are a host of collaborators here, Jorja Smith, Rebel Kleff, Kiko Bun, Jordan Rakei, Sampha, Tom Misch and more, but none are overpowering. They blend righteously into place. Loyle is not bitter with people who have let him down, or the society that has let him down, but the combination of anger and love he has gives his voice the perfect blend of strength and vulnerability. This might be a coming of age album, but it's also a coming of ageless album. His first album worked, and this second album is a continuation of that work. Not creating a form, but being formless, as someone like Bruce Lee once said.

And here's some poetry from mum.



We talked long in to the darkest hours

Until we saw the burnished sky

And our eyes stung

As our words blurred and became thoughts

As we were silenced by the dawn

We clung to each other like sailors in a storm

Vinyl is 180g and contains downloadcode

Wrocław-Toruń noise rock band founded by Szymon Szwarc (swrcfx, Jesień) and Damian Kowalski (SKI). They are currently collaborating with Cezary Rosiński (Młyn) and Krzysztof Rogalski (Pchełki). The band has performed in clubs and at festivals in Poland, Germany, the Czech Republic, Slovakia, Austria, Lithuania, Latvia, and Estonia. So far, two full-length albums by RZWD have been released: POMPY (Fonoradar Records 2020) and GOLD (Fonoradar Records 2022).


Album GAPS Recorded in November 2023, is the result of two years of work that merges classic POST-PUNK GUIDE with a rich electronic influence. On GAPS, RZWD aims to craft DANCE NOISE CLUB MUSIC on their own terms, pushing the limits of what a LIVE BAND can be in achieving this.
Most of the tracks evolved during RZWD's concerts in countries like Lithuania, the Czech Republic, Germany, and Estonia. These experiences and ideas were shaped into the album between November 2023 and May 2024. Live recordings in Szczecin were done by Adam Sołtysiak, while additional recordings and production were handled in Toruń under the supervision of swrcfx.
The core idea behind GAPS was to use developed themes as a starting point for further variations and exploration within DANCE NOISE CLUB MUSIC. This time, the instrumentation includes bass and an ever-expanding, mutating layer of modulation. Therefore, the album features four brand new compositions alongside four remixes of tracks from previous albums.
The album also features guest appearances by: DANIELIUS PANCEROVAS from the Lithuanian band KANALIZACJIA, adding a saxophone touch to the track DIESEL, and KRZYSZTOF FREEZE OSTROWSKI - a renowned Polish electronic musician and producer, bringing a new sonic perspective to EURO TRACK from the DMO EP.
Among the multidimensional concepts blending environments, genres, styles, and techniques found on GAPS, the pursuit of synthesizing acoustic and electronic sounds stands out. RZWD creates a space where the boundaries between these domains blur and lose their significance.
The result is a groove-driven and noisy mix of dance music styles such as RAVE, TECHNO, HOUSE, and FOOTWORK, played beyond rigid tempo measurements and DAW limitations, relying on natural skills and intuition. It's a soundtrack that works best as a backdrop to movement, whether coordinated or not.
RZWD:
SKI - DRUMS, ELECTRONICS
KRZYSZTOF ROGALSKI - BASS GUITAR
CEZARY ROSIŃSKI - DUBS, SYNTH, MOD. ELECTRONICS
swrcfx - DUBS, SYNTH, GUITAR
ALBUM GUESTS:
DANIELIUS PANCEROVAS - SAXOPHONE in DIESEL V3
KRZYSZTOF FREEZE OSTROWSKI - ELECTRONICS in EURO TRACK V2

Wie lässt sich eine Ahnung von Schönheit finden inmitten von Angst und Grausamkeit. Wie lässt sich all das Unsagbare hörbar machen, aber auch Wut, Zuversicht und unbedingter Lebenswille. Mit seinem dritten Album "Temple Of Hope_Ç hat der iranische Komponist Saba Alizadeh eine bewegende Hommage an die Menschen seiner Heimat geschaffen. Die Geschehnisse während der "Woman Life Freedom_Ç-Bewegung, aber auch die Kämpfe der Bevölkerung in den Jahren zuvor setzt er in eindringliche electro-akustische Musik um. Intensiviert durch Gesang und Lyrik von Andreas Spechtl, Sanam Maroufkhani und Leila Rahimi. In seinen Kompositionen kombiniert Saba Alizadeh das traditionelle Saiteninstrument Kamanche und Streicher mit modularem Synthesizer und No-Input-Mixer. So entsteht ein spannungsgeladener Sound, der vor allem die Sprachlosigkeit und Zerrissenheit zwischen Leid, Aufbegehren und Hoffnung auslotet. Historische Radio-Sequenzen verwurzeln seine Stücke in der Kultur und Geschichte des Landes. Die starke Verfremdung und Dekonstruktion dieser akustischen Elemente verweist wiederum auf das Unbegreifliche. Auf existentielle Erschütterungen und Auflösungsprozesse. In seinem "Temple Of Hope_Ç versammeln sich Mut und Zuversicht. Denn Saba Alizadehs vielschichtige Stücke mögen zwar oftmals wie ein Widerhall des Entsetzens wirken. Doch zugleich entfalten sie eine eigene erschütternde Schönheit.

The next release from 29 Speedway is Break, the new EP from NY’s Relaxer, the long running alias of Daniel Martin-McCormick (Black Eyes, Ital and co-founder of Dripping), and it signals a decisive shift in his music. The tape features two remixes by the singular DJ Marcelle.

What happens when dubby drum & bass meets Dischord’s post-punk colossus Black Eyes? “Break” is the new EP from NY’s Relaxer, the long running alias of Daniel Martin-McCormick (Black Eyes, Ital and co-founder of Dripping), and it signals a decisive shift in his music.

Prompted by friends to write a drum & bass live set just as Black Eyes was reuniting, the results didn’t quite fit the d&b genre. But it felt right. Quick, nimble, with room for the ferocity of his favorite post punk and some of the spaciousness of dub. Evergreen vibes, really, but seen from a fresh perspective.

Honed over a period of two years, the five tracks on “Break” fuse Relaxer’s careening, technoid sounds with free jazz-tinted drum programming, snarling sound design and spacious echo trails. It’s a perfect fit for 29 Speedway’s future-facing, exploratory anti-genre approach to electronics. The tape features two remixes by the singular DJ Marcelle and mastering by Dubplates & Mastering.

Other Voices is a studio album by English singer Paul Young. The gold certified album was originally released in 1990 and peaked at #4 on the UK Albums Chart. Other Voices combines cover versions with original songs and includes the singles “Calling You”, “Softly Whispering I Love You” and “Heaven Can Wait”. On this album, Paul Young collaborates with many well-known musicians such as Stevie Wonder, Chaka Khan, Nile Rodgers, Steve Winwood, Dave Gilmour and Anne Dudley. In 2012, a deluxe expanded edition of the album was released on CD. This vinyl release of Other Voices presents this
expanded edition for the very first time available on vinyl, including 10 bonus tracks containing 12” mixes, B-sides and live performances.
This release does not include the track “Trying To Guess The Rest”, but instead includes a live performance track of the song
“That’s What Christmas Means To Me”.

Other Voices (Expanded Edition) is available on vinyl for the first time as a 35th anniversary edition of 1000 individually numbered copies on silver coloured vinyl and includes an insert.

Alternate versions of tracks from Marc Mac's Def Radio Album. The album marks the return of Marc Mac's long-running Visioneers project. As ever with Visioneers, this record reimagines the default stock of hip-hop's best-stocked jukebox, often beginning from scratch focusing on a central sample used in the original Hip Hop song, to either recontextualise a classic or come up with a new song; whatever the case, the key hallmark of a Visioneers is its live instrumentation, with flaunts a *gauche et droite* mastery over hip-hop's laggard swing.



a A1: What It Mean (Battle Cut) 45

Black vinyl / 505mcn paper / 30 x 60 cm Insert with Liner Notes by Tony Higgins printed on 250 mcn Lenza Top Recycling Paper / Condensed interview to Spata Sisters and exclusive pictures.

Personnel:
Enzo Randisi - Musser Percussion Keyboards
Riccardo Randisi - Acoustic Piano, Rhodes, ARP & Korg Keyboards
Marcello Pellitteri - Drums
Giuseppe Costa - Acoustic Bass & Electric Bass Guitar
Mimmo Cafiero - Congas & Percussions
Sandro Palacino - Tenor and Soprano Saxes
Loredana Spada - Vocalist
Cinzia Spata - Vocalist
Mary Lo Giudice - Vocalist
Mariella Gueli - Vocalist

Notes:
Did someone say Summer? Sicily is what Cuba is to the Caribbean, sun, sea, easy and friendly people with lots of troubles! You won't find anything better around that identifies the summer more than this album by Enzo Randisi who at the beginning of the 80s put together a Swing Ensemble as a tribute to that "cheerful" movement of Jazz music. But Enzo and his fellas just couldn't stay on track and put in the best that the alternative Palermo area could offer in that historical period, like the sisters Cinzia and Loredana Spata, who brought the production to a next level in the vocal version of All Blues or in Chic Corea's Spain. But what really struck us was Charles Cables' version of "Quite Fire" (here missspelled as "Quite Fair"), released a few months earlier only in Japan and which would only become famous in the 90s with the Acid Jazz movement, and this tells us a lot about how hungry Enzo and Riccardo were of musical knowle, to be able to find some pearls in a city with basically no record shops and isolated...well...it's on an island! For this re-press we enlisted Tony Higgins, who recently finished a very long commitment and greenlight to delight us with his polished English...Welcome back Tony!

Like a passenger riding shotgun on a road trip, The Villagers Companion offers its own unique perspective and story to tell. Featuring tracks recorded alongside last year’s acclaimed villagers, TVC captures the miles between the start and destination—the faded gas station pit stops, the plastic saint statue stuck to the dashboard for safe travels or luck. It embodies the essence of the journey without the burden of driving—the experience of the ride itself.

The album takes us through the heart of Califone’s magic: reverb-drenched piano chords, electronic whirs, and layers of experimental noise. Guided by Tim Rutili’s abstract, fragmented lyrics—both strange and familiar—delivered through his warm, well-worn vocals, it creates an experience as evocative as it is haunting. Often passing through what seem to be the spaces between radio frequencies, the stations never meant to be heard. Crackles of static, feedback loops, and fleeting signals bloom into meditative moments, with each sound given space to breathe, unravel, and shimmer in slow decay. The result resonates deeply, transforming what might be noise into something profound, hypnotic, and totally immersive.

As with villagers, Rutili and company continue to explore what it means to get lost while surrounded by modern technology. Like a ghost in a machine or a whispered prayer stuck in a telephone line, Califone adds soul—be it damned or saved. And they do so with the kind of transformative magic granted perhaps only to artists a quarter of a century into their craft. The kind that turns a photograph into a tableau, or any darkened space with a microphone into a makeshift confessional. A song into a hymn, and a hymn into a soundtrack to a life.

Like a passenger riding shotgun on a road trip, The Villagers Companion offers its own unique perspective and story to tell. Featuring tracks recorded alongside last year’s acclaimed villagers, TVC captures the miles between the start and destination—the faded gas station pit stops, the plastic saint statue stuck to the dashboard for safe travels or luck. It embodies the essence of the journey without the burden of driving—the experience of the ride itself.

The album takes us through the heart of Califone’s magic: reverb-drenched piano chords, electronic whirs, and layers of experimental noise. Guided by Tim Rutili’s abstract, fragmented lyrics—both strange and familiar—delivered through his warm, well-worn vocals, it creates an experience as evocative as it is haunting. Often passing through what seem to be the spaces between radio frequencies, the stations never meant to be heard. Crackles of static, feedback loops, and fleeting signals bloom into meditative moments, with each sound given space to breathe, unravel, and shimmer in slow decay. The result resonates deeply, transforming what might be noise into something profound, hypnotic, and totally immersive.

As with villagers, Rutili and company continue to explore what it means to get lost while surrounded by modern technology. Like a ghost in a machine or a whispered prayer stuck in a telephone line, Califone adds soul—be it damned or saved. And they do so with the kind of transformative magic granted perhaps only to artists a quarter of a century into their craft. The kind that turns a photograph into a tableau, or any darkened space with a microphone into a makeshift confessional. A song into a hymn, and a hymn into a soundtrack to a life.

Blue Valentine Vinyl. Sometime in 2005, a lone box of master tapes escaped an estate sale and made its way through a network of collectors, record dealers, and "junkers" into the hands of leading Ohio soul expert Dante Carfagna, who linked them to Columbus, Ohio's mysterious Prix label (See: Eccentric Soul: The Prix Label). A bit of research turned up Prix proprietor George Beter, who identified most of the unlabeled material. All it took was an endless series of phone calls and letters and two fields trips in Columbus. But one complete mystery wended its way onto our final Prix compilation. "You and Me," a simple but irrepressible demo credited only to Penny & the Quarters, was found tacked onto a mixed studio reel. Our survey of every willing lifer left on the Columbus soul scene, including retired DJs, producers, and important local artists, produced not so much as a glimmer of recognition at the name Penny & the Quarters. Though we loved the song from the first play, it may've ended up a bit buried on our original compilation, as #18 of 19 tracks.Four years later, Eccentric Soul: The Prix Label hadn't exactly become a huge seller, although listeners had repeatedly told us that the unfiltered studio demos that fill out the record's back half were true diamonds in the rough. But neither Penny nor her Quarters had appeared to claim credit for their efforts. Then, completely out of left field, we heard from respected screen actor and avowed Numero fan Ryan Gosling that Penny's piercing bit of stripped down doo-wop was being considered for inclusion in Derek Cianfrance's indie-weeper film Blue Valentine. What we didn't know was that "You and Me" had won a major role in what became an indie circuit hit, and that Penny & the Quarters would instantly assume the role of world's most famous unknown doo-wop group.Every week is a slow news week in Columbus, Ohio, and early January 2011 found the city recovering from the thrill of elevating Ted Williams_the formerly homeless guy with the awesome voice for radio_into a national news sensation. But both major daily newspapers in town, as well as the city's alternative weekly, also ran stories about how a lost and unknown Columbus soul group had become the musical centerpiece of a film already garnering Oscar buzz. That mainstream spotlight aimed at Blue Valentine and Penny & the Quarters did the trick: we finally made contact with the widow of Jay Robinson, lead Quarters' singer and songwriter. Robinson, it turned out, had also been the leader of Columbus doo-wop pioneers The Supremes (later known as "The Columbus Supremes," for reasons which should be obvious). Jay Robinson never did give up on the dream of writing a hit record; even so, the posthumous realization of his dream is cold comfort for his widow and daughter. With their blessings, we returned to those estate sale masters and pulled down another neglected track ("You Are Giving Me Some Other Love") from the still-unknown Penny and her now-partly-known Quarters. "You and Me" is a song that could not be suppressed: not when Prix failed to release it; not when Penny & the Quarters were forgotten; not when Numero stuck it at the bitter end of a much overlooked compilation. Its evolution from estate sale trash to silver-screen gold has finally returned it to big-hole 45, where it probably should have lived all along.

Soul Quest are proud to present the latest release from Berlin based DJ and producer Jean-Jez, who continues on with a musical journey with flourishing roots and a bright, bright future.

Jean-Jez has made waves in Berlin’s underground for a good while now, with his Kedi Bounce parties (whom he co-founded) quickly becoming a celebratory cornerstone of community and culture. His DJing style and production approach act as a core expressional loop, with Jean-Jez embracing a multitude of styles and sounds with both. Bridging the gap between house, Jazz, Hip-Hop, Afro-Latin and beyond, Jean-Jez is all about nurturing the collective joy found within music - either through his own tunes or deep in the mix at a Kat Nip party.

‘Soul Notion’ wears its heart on its sleeve, and embodies the core musical principles to which Jean-Jez holds so very dear. ‘Did you want to dance!’ kicks things off with a deep melodic embrace, before spreading outwards with brassy frills, evocative simmering drumming patterns and vocal samples which kick the inner consciousness into another gear.

‘Take me to the moon’ contains an up and front piano lead, with uptempo drums providing a twist and flair to proceedings. Some inspired vocals add further to the atmosphere, one of airiness and emotional escapism.

‘What is it tell me’ stirs into life with a wide scope through the low ends, but Jean-Jez cooks up a storm with some wondrous jazz guitar that weaves one final spell to get lost deep within.

To wrap things up, Jean-Jez enlists his own collective: Kedi Bounce to put an Acid twist on ‘Did You Want To Dance’ to close the ep in style. This mix is exclusive to the vinyl mix and won’t be released digitally.

Jean-Jez looks to celebrate and resonate through his music, and this EP is a full demonstration of his abilities to bring things together. Seamlessly blending some of his favourite styles, this record contains all the feels to be wished for, and an experience that leaves plenty of room for return visits, this EP has you covered.

As part of maintaining The Black Dog's back catalogue, Dust Science has now re-issued the 2010 album, "Further Vexations". It's a real successor to Radio Scarecrow, moving forward with the dark tone and concepts.

Further Vexations picks up from what was started in Radio Scarecrow, moving beyond the world of open secrets and the bemusing transmissions of number stations, to exploring the dark cynicism of Orwellian practices carried out by our Govern-
ments, institutions and corporations.

Martin Dust from tBd explained, “Our main concern was and still is the amount of personal freedoms being surrendered under the banner of "for your own safety" – CCTV, Biometrics and the World Wide Databases being the latest inventions to save us from ourselves. What is it going to take for people to wake up? How much further can the people that we’ve put into power go before something finally snaps? We've had enough now! We believe that people have become lazy and accepting of "beige" political parties who have realised if they stand for nothing, people will fall for anything.”

10 years on, the references to George Orwell's 1984 appear to be a little naive and wholly inadequate. From billion-dollar corporate entities openly mishandling our data for profit to highly-targeted and manipulative political propaganda campaigns, the misuse of our data and communications is far more sophisticated and devious than originally envisaged.

The stark omens of Further Vexations are now more prophetic than ever.

As soon as Martin Circus was born in 1969, the band laid foundations for the French "Pop Musique" genre, deliberately turning its back on both French yéyés and rock'n'roll to better embrace psychedelia and the French language. In 1971, they were a pioneering, innovative group moving as fast as a speeding train, building upon everything they found on the way. However, faced with band members changing often, management issues and music evolution, Martin Circus ended up trying to fit in every style: soul, R&B, glam rock, disco, new wave, 80s mainstream music. To follow their journey is to listen to the world shifting along music charts. Behind the scenes, since the very first days of the band, one man had been pulling all the strings. Manager and artistic director Gérard Hugé used to work for both the band and the label - this has never been good news. What he cared about the most was getting records out, no matter who played on them. In the mid-70s, he registered the Martin Circus name, granting himself full power over the band. Deciding that it no longer had either a lyricist or a composer, he made the remaining musicians embark on a series of American 60s hits adaptations. As a result, they made tons of money : "Marylène" was a huge hit and gave them a new impulse. The Martins adopted a new look by wearing shiny Courrèges-style suits and platform boots, and on stage they performed dance moves choreographed by the eccentric Amadeo. They completely fit into the disco craze which was about to take over. Still, their music blended doo-wop and rockabilly with glam rock and funk music. They eventually hit disco with a soundtrack in the mannerof French disco groups such as Space and Voyage. Effortlessly, they released the epic 14- minute "Disco Circus", a track which was to become a real underground gem. DJ and remixer François Kevorkian then released it on the American Prelude label in a self-edited version, shortened to 7 minutes while retaining all the dazzling passages of the original track. It came to be a hit in the clubs of New York and Chicago, making a lasting impression on everyone who heard it. It got sampled on at least 40 tracks over the following decades and featured in dozens of bootlegs and prestigious compilations - by Laurent Garnier, Carl Craig, Juan Atkins, Joey Negro, The Beatnuts, The Rapture, and by Danny Krivit in the DJ culture film Maestro. As the 80s arrived, Martin Circus once again changed the way they looked and their style. Inspired by Devo and their cold dance music, by Buggles' synthpop and Plastic Bertand's postpunk. Throughout their career full of ups and downs, Martin Circus nonetheless managed to keep up with one stable element: contrary to what they seemed, the musicians never took the easy way out. Their playing and arrangements were consistently flawless and polished, they relentlessly dedicated themselves to playing quality music and this can only compel admiration. As Coco Chanel once said, "Fashion goes out of fashion, style never does."

"Shybits are releasing in November their second album to date with their new label, Anomic Records. "What's That?" is reflecting on the musical and personal growth of the band - a more mature sound inspired by this of the colder 80s, without abandoning the 90s nostalgia. Shybits have played notable shows including WDR Rockpalast, NPR Word Cafe & Reeperbahn, as well as supports for Yard Act, Art Brut, Pabst, Gurr, WWPJ & more. For the album release they will be touring in EU later this year."

Denison Witmer returns with a new collection of ten vibrant and pensive folk-pop songs recorded and produced by Sufjan Stevens, his long-time friend and collaborator. Anything At All finds Denison in a suitably reflective mood, mining sublime revelation from an ordinary, domesticated life. Topics like bird watching, carpentry, houseplants, and hiking offer insights into bigger, existential questions about life, death, meaning, and purpose. What are we doing with the precious time we have left on this earth? Whether it's spent making clocks, gathering berries, planting trees, or putting the kids to bed at night, these songs suggest that a life lived with thoughtfulness and care can lead to deeper joy and fulfillment. Recorded sporadically over a period of two years, Anything At All was primarily created at Sufjan's Catskills studio during the pandemic, with additional sessions recorded by Andy Park, in Seattle, WA. Contributors include Stevens and Park as well as Sam Evian, Hannah Cohen, Sean Lane, and Keenan O'Meara, amongst others. The album's musical aesthetic marries Denison's folksy, Mennonite vibe with Sufjan's signature bells and whistles: lush strings and woodwinds, women's choir, and an occasional jazzy saxophone weave their way around Denison's matter-of-fact vocals and acoustic guitar. These are simple folk songs with bursts of awe and wonder.

Diamond Dogs may be a bunch of renaissance rockers deeply rooted in the early 70s British rock and roll, but just like our forerunners, we owe
almost everything to Little Richard, the architect of it all! It's impossible to even imagine rock and roll without him.

Little Richard is the soul, spirit and passion of the Diamond Dogs lifestyle, and I was six years old when I first heard 'Rip It Up' with love at first feel.
The raw energy and the blood screaming lyrics over that manic hammering piano embodied everything I craved in music, straight from the speakers to my young heart. Even if I discovered a lot of other influences later on in life, I always kept Little Richard close to where he once hit me. One of Diamond Dogs' early tunes is called 'Lunatic Eye-Rolling Delivery' which is a line nicked from a concert review of Little Richard, and we believe it sums up the essence of his greatness pretty well. He was much more than a rock pioneer, the way he dressed up and spoke was something the world had never experienced before.

Little Richard got Paul McCartney to write 'I Saw Her Standing There', got James Brown a new haircut, and put a silly little mustache on Prince!
So, the idea of recording a homage to the true king of rock and roll had been with all of us for many years when Chris Spedding one day called me
and asked if we should record something together. Of course, I immediately said yes, and then asked him to join Diamond Dogs in the upcoming
studio session to record some well selected Little Richard gems for an LP. All said and done, and Chris was extra thrilled that his favorite 'Send Me
Some Lovin'' was among the songs we picked.

And on a cold and windy January day we gathered the Dogs and the new old puppy in the sweet premises of Dog Pound Studios, along with our
beloved friend and engineer Jonas Åhlén.

So, when the room is geared up, we do our melodies as we normally do it, no rehearsals, all live, straight to tape. One hour per track is usually a
good thing! An amazing energy and swagger filled the atmosphere as Diamond Dogs and Chris fulfilled my dream.

Now that I'm listening through the vinyl, I must say that I've never been prouder of anything we've achieved with this shady bunch so far. It's like
walk the full circle, like I've been graduating from the 12-bar rock and roll academy.
Sulo, Stockholm/Sweden, 2024

Sound Like: The Faces, Rod Stewart, Frankie Miller, Elton John, Mott
The Hoople, J Geils Band, The Rolling Stones, Steppenwolf, Little
Richard

Diamond Dogs may be a bunch of renaissance rockers deeply rooted in the early 70s British rock and roll, but just like our forerunners, we owe
almost everything to Little Richard, the architect of it all! It's impossible to even imagine rock and roll without him.

Little Richard is the soul, spirit and passion of the Diamond Dogs lifestyle, and I was six years old when I first heard 'Rip It Up' with love at first feel.
The raw energy and the blood screaming lyrics over that manic hammering piano embodied everything I craved in music, straight from the speakers to my young heart. Even if I discovered a lot of other influences later on in life, I always kept Little Richard close to where he once hit me. One of Diamond Dogs' early tunes is called 'Lunatic Eye-Rolling Delivery' which is a line nicked from a concert review of Little Richard, and we believe it sums up the essence of his greatness pretty well. He was much more than a rock pioneer, the way he dressed up and spoke was something the world had never experienced before.

Little Richard got Paul McCartney to write 'I Saw Her Standing There', got James Brown a new haircut, and put a silly little mustache on Prince!
So, the idea of recording a homage to the true king of rock and roll had been with all of us for many years when Chris Spedding one day called me
and asked if we should record something together. Of course, I immediately said yes, and then asked him to join Diamond Dogs in the upcoming
studio session to record some well selected Little Richard gems for an LP. All said and done, and Chris was extra thrilled that his favorite 'Send Me
Some Lovin'' was among the songs we picked.

And on a cold and windy January day we gathered the Dogs and the new old puppy in the sweet premises of Dog Pound Studios, along with our
beloved friend and engineer Jonas Åhlén.

So, when the room is geared up, we do our melodies as we normally do it, no rehearsals, all live, straight to tape. One hour per track is usually a
good thing! An amazing energy and swagger filled the atmosphere as Diamond Dogs and Chris fulfilled my dream.

Now that I'm listening through the vinyl, I must say that I've never been prouder of anything we've achieved with this shady bunch so far. It's like
walk the full circle, like I've been graduating from the 12-bar rock and roll academy.
Sulo, Stockholm/Sweden, 2024

Sound Like: The Faces, Rod Stewart, Frankie Miller, Elton John, Mott
The Hoople, J Geils Band, The Rolling Stones, Steppenwolf, Little
Richard

Generally regarded as the first true 'new age' record, Steve Halpern's 1975 private press LP has long been in demand by collectors. In particular, the very first pressing of the album included an extraordinary long-form jazz funk track called 'Something for Every Body Suite' that was removed from subsequent versions. Eating Standing is proud to reissue Halpern's classic long-lost original version of the album, officially licensed from Halpern himself that includes this heavy groove-laden masterpiece. This is the very first ever full reissue of the first press album with full reproduction of the artwork. Original copies cost over $700 (assuming you can even find one) but now this incredible landmark album is available once more to enjoy. "Reissued for the very first time since 1975 in its original format and track listing, a legendary album that is considered a game-changer in music. Steve Halpern's landmark album 'Christening For Listening (A Soundtrack For Every Body)' is considered by many to be a crucial and defining album that pointed the way ahead. Predating the ambient/experimental work of Brian Eno, Steve Hillage and even Mort Garson's 'Plantasia', Steve Halpern's 'Christening For Listening' was the first album to explore what became known as 'new age' or ambient music, exploring the effect of tones and rhythms on the human body and mind as well as plants and other organisms. Originally issued as a private pressing in 1975, the very first issue of this album had an extraordinary extended jazz funk track on the B side, a DJ/Samplers delight – DJ Gaslamp Killer is a huge fan. This track, 'Something For Every Body Suite', was never included on any of the subsequent represses making the very first pressing incredibly rare and almost impossible to find. It's reissued here for the very first time, with full repro of the original artwork plus a Q&A by Tony Higgins with Steven Halpern himself.

The 2003 debut album and a collection of early rarities from the genuine treasure of the UK underground. Remastered and available on vinyl for the first time in over two decades. “Legendary angular rock…Edgar Allen Poe meets The Fall” (The Guardian 2003) “Jarvis Cocker fronting Fugazi” (Melody Maker 1994) Joeyfat, from Tunbridge Wells in Kent, are the daddy of all the Sprechgesang bands out there. We searched on Wikipedia; they're not even mentioned. Maybe not such a bad thing. There are young scamps climbing up festival line-ups all over the world with more than a passing sonic and aesthetic resemblance. Influence can be picked up in diluted ways, maybe the true source of the river has been forgotten. Foals heard the source, they were there. So were Everything Everything. Ask them. Black Midi heard it third hand. Life Without Buildings heard it. So did Yard Act. You can see the pattern. From the early '90s Joeyfat, led by Matt Cole and Jason Dormon, have been perfecting and re-perfecting the sound. They toured with Green Day in 1994. They released music on the Fierce Panda label. They recorded BBC Sessions for John Peel and Marc Riley and released four albums and countless singles. They flirted with being known and they didn't like what they saw so they kept it local, building a community by setting up the Tunbridge Wells Forum, one of the great UK small venues. Debut album The House Of The Fat is a masterpiece, the musical precision recalls The Sound or B52s. The spot-on attack of the vocal and lyrics makes us think of Fugazi or Zounds. The Unwilling Astronaut compiles early singles and compilation tracks. Going all the way back to 1993 it shows how close to a DC-inspired hardcore band they were, it's a thrilling listen. Joeyfat shouldn’t need a re-introduction but they’re going to get one. The source of the river. The top of the family tree. This is where the resemblance comes from

Southern-bred, alternative R&B singer-songwriter Mereba artistically embodies self-understanding on The Breeze Grew a Fire, her grandest work and first release on Secretly Canadian. To hone in on this latest album, it was necessary for Mereba to reconnect with her whole many-sided self, from her inner child to her inseparable relationships. Mereba peacefully transmutes her beginnings, looking upon her closest kinships and friendships with a keen understanding of their steadying, inspirational force. Surrounded by the gentle Breeze of these relationships and recollections, Mereba is empowered as both an artist and mother, while also being reminded to nurture her childlike wonder. Mereba gracefully shines on the follow-up to her bounteous 2019 debut, The Jungle Is the Only Way Out. In escaping the Jungle, Mereba faced the paradigm shift of birthing a son in 2021 and getting accustomed to a rapidly changing self-outlook. Mereba's creative output has always relied on her innermost reflections and ideas on whatever was happening around her; but in motherhood, the singer's perspective widened while her inspiration became more focused, and more individually powerful. "Even though I'm fully an adult, I had to grow up in a way overnight when he my son came," Mereba explains. "The process of watching him open up to the world, learn how to engage with the world, it is very tender. I feel like it's the most reminded I've ever been of when I was a child and the first memories I have of life." The transformation brought Mereba to the intimacy of DIY recording sessions, providing an honest and organic foundation to Breeze. Mereba tapped her longtime production collaborator Sam Hoffman to co-assemble the album's rich production, which parallels its folk-like warmth. Although Mereba is a true double Earth sign-Virgo and Virgo rising-the development of Breeze was anchored by experiences and memories that span from Atlanta to L.A., Addis Ababa to Greensboro, an intention that speaks to the album's fluid nature. While nowhere near the end of her musical trek, The Breeze Grew a Fire is a loving, inspiring return to origin, one where Mereba frees a painful past, eases into future possibilities, and goes with life's flow.

Southern-bred, alternative R&B singer-songwriter Mereba artistically embodies self-understanding on The Breeze Grew a Fire, her grandest work and first release on Secretly Canadian. To hone in on this latest album, it was necessary for Mereba to reconnect with her whole many-sided self, from her inner child to her inseparable relationships. Mereba peacefully transmutes her beginnings, looking upon her closest kinships and friendships with a keen understanding of their steadying, inspirational force. Surrounded by the gentle Breeze of these relationships and recollections, Mereba is empowered as both an artist and mother, while also being reminded to nurture her childlike wonder. Mereba gracefully shines on the follow-up to her bounteous 2019 debut, The Jungle Is the Only Way Out. In escaping the Jungle, Mereba faced the paradigm shift of birthing a son in 2021 and getting accustomed to a rapidly changing self-outlook. Mereba's creative output has always relied on her innermost reflections and ideas on whatever was happening around her; but in motherhood, the singer's perspective widened while her inspiration became more focused, and more individually powerful. "Even though I'm fully an adult, I had to grow up in a way overnight when he my son came," Mereba explains. "The process of watching him open up to the world, learn how to engage with the world, it is very tender. I feel like it's the most reminded I've ever been of when I was a child and the first memories I have of life." The transformation brought Mereba to the intimacy of DIY recording sessions, providing an honest and organic foundation to Breeze. Mereba tapped her longtime production collaborator Sam Hoffman to co-assemble the album's rich production, which parallels its folk-like warmth. Although Mereba is a true double Earth sign-Virgo and Virgo rising-the development of Breeze was anchored by experiences and memories that span from Atlanta to L.A., Addis Ababa to Greensboro, an intention that speaks to the album's fluid nature. While nowhere near the end of her musical trek, The Breeze Grew a Fire is a loving, inspiring return to origin, one where Mereba frees a painful past, eases into future possibilities, and goes with life's flow.

Off the back of storming the UK charts once again with latest single 'White Noise feat AlunaGeorge' - DISCLOSURE are extremely excited to announce the title, artwork and release date for their eagerly awaited details of their debut album.
'SETTLE' - the brothers' first full-length recording - will be released on June 3 via PMR records (home to Jessie Ware and Julio Bashmore among others).
Leading the charge into the album is the single 'You & Me' featuring Eliza Doolittle, and as you'd expect, Disclosure continuously prove their ability in bringing the best out of their vocal collaborators, with Eliza's lustrous vocal immersed among Disclosure's trademark 2-step garage rhythms, once again showing beyond doubt their capacity in delivering yet another anthem alongside previous singles Latch and White Noise.

Having steadily built a name for themselves as purveyors of a standard of music production way beyond their tender years, they've spent a solid couple of years honing their already prolific output into what's sure to be one of the debuts of 2013 - in any genre.
Highlights:
'You & Me' was released on Sunday 28th April
The single was the week's HIGHEST new entry in the official chart midweeks at number (J) CD 10
Single remix roll out as below:
16th May Zane Lowe exclusive Baauer
w/c 20th May online exclusive Flume
'You & Me' Remix EP and 12' Vinyl available June 24th
R1 Zane Lowe Session (May 15th), R1 Zane Lowe Album Of The Week (May 27th) and Radio 1/1Xtra Live Lounge (June 5th) all confirmed

'Latch' featuring Sam Smith and 'White Noise' featuring AlunaGeorge have now sold over 650K combined (making both Silver certified singles).

White Noise' which entered the UK singles chart at #2 on release remained a Top 15 single for the consecutive 10 weeks.

Remastered from the original tapes & pressed on loud double vinyl! Hot of the success of Jay-Z’s Reasonable Doubt, producer extraordinaire Ski was on fire when he flipped Dynasty’s “Adventures In The Land of Music” for Camp Lo’s breakout 1996 smash single “Luchini aka This Is It”. The same year saw Camp Lo opening shows for De La Soul during their Stakes is High tour. Combine that with the fact that Ish aka Butterfly from Digable Planets had cosigned for the group’s reputation and would appear on of the tracks (in addition to Trugoy from De La), there became a huge buzz around their debut album Uptown Saturday Night. Fast forward a few months to January 1997 and the heavily anticipated release of Camp Lo’s first record, which did not disappoint. It struck the perfect balance between club tracks and underground bangers for the mixtape crowd. Critically acclaimed and fan approved, this late 90s must-have was complimented by the incredible cover art illustrated by legendary NYC graffiti artist Dr. Revolt that paid homage to Marvin Gaye’s 1976 classic I Want You. It’s hard to believe in the time of Puffy’s heyday, Camp Lo had developed and delivered a style of Hip Hop that was not only fresh and creative, but also straight up dope. Flipping intricate rhyme styles over some of Rap’s finer beats, the fact that Camp Lo got main stream radio play and love from big time club DJ’s is a testament to the essence of what Hip Hop was once about: raw talent and originality!

Whereas Lewis used his transformative talents to newly illuminate renaissance man George Washington Carver onJesup Wagon, the saxophonist does the same here for gospel- music force of nature Mahalia Jackson. And this time it's personal, because Lewis lived her music growing up, nurtured by a grandmother who had received Mahalia's singing like a bolt from above. Much more than a tribute, this work is"really a three- way conversation between Mahalia, my grandmother and me."

The challenge was to turn these songs into jazz, the 21st century variety. What James and the band (William Parker- bass, Chad Taylor- drums, Kirk Knuffkecornet, Chris Hoffman-cello) conjure with this music is miraculous.

The CD & LP editions also exclusively include the contemporaneous suite, "These Are Soulful Days", JBL's first composition for strings; performed with the Lutoslawski Quartet. It is included as a 2nd disc on CD version & via an exclusive download card with the LP

Somewhat incredibly, this four-piece vocal Soul act are still performing today after 56 years of harmonising, without anything they recorded achieving a physical release until a few years ago. What began as four guys singing together for fun after basketball practice in Portland, took until early 1977 to realise as actual recordings – and that lone tape of four original songs lay unreleased until 2020. From that set we've pulled a bright and lively gem ripe for plays on the Modern Soul scene, backed with stunning, polished slow-jam.

First time ever on 7" 45rpm vinyl, dinked centre hole with picture sleeve, 500 numbered copies only.

Die schwedische Rock-Band Spiders präsentiert ihren neuen Longplayer 'Sharp Objects'! Wie bei ihren früheren Veröffentlichungen ist der Sound von Spiders tief im klassischen Rock'n'Roll verwurzelt. 'Sharp Objects' bietet jedoch etwas Neues, indem es Einflüsse aus der New-Wave- und Garage-Rock-Szene der frühen 80er Jahre einfließen lässt. Klingt wie Blondie, Dead Boys, The Hellacopters oder Bikini Kill.