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Red Creek's debut release, The Raging River, is a seamless continuation of the writing process and the creative mindset that has guided Cult of Luna for the last couple of years. "The Raging River" feels more like a bridge. A midpoint that needs to be crossed so we can finish what we started with "A Dawn To Fear". It's a seamless continuation of the writing process and the creative mindset that has guided us for the last couple of years. It's been an interesting as well as an introspective way of working, having our instinct leading the way and then having to figure out where it takes us. But not only has it been a linear journey, some aspects of it is clearly circular. We have been a fan of Mark Lanegan for many years. So in 2005 when we wrote the song "And With Her Came The Birds" we had his voice in mind and the working title was "The Lanegan Song". But we were not many years over 20 and our lack of self-confidence prevented us from even daring to ask. It took fifteen years for us to get the guts to ask him. Hearing his voice on "Inside Of A Dream" is nothing more than feeling that we're inside of a dream. Johannes Persson

Red Creek's debut release, The Raging River, is a seamless continuation of the writing process and the creative mindset that has guided Cult of Luna for the last couple of years. "The Raging River" feels more like a bridge. A midpoint that needs to be crossed so we can finish what we started with "A Dawn To Fear". It's a seamless continuation of the writing process and the creative mindset that has guided us for the last couple of years. It's been an interesting as well as an introspective way of working, having our instinct leading the way and then having to figure out where it takes us. But not only has it been a linear journey, some aspects of it is clearly circular. We have been a fan of Mark Lanegan for many years. So in 2005 when we wrote the song "And With Her Came The Birds" we had his voice in mind and the working title was "The Lanegan Song". But we were not many years over 20 and our lack of self-confidence prevented us from even daring to ask. It took fifteen years for us to get the guts to ask him. Hearing his voice on "Inside Of A Dream" is nothing more than feeling that we're inside of a dream. Johannes Persson

Red Creek's debut release, The Raging River, is a seamless continuation of the writing process and the creative mindset that has guided Cult of Luna for the last couple of years. "The Raging River" feels more like a bridge. A midpoint that needs to be crossed so we can finish what we started with "A Dawn To Fear". It's a seamless continuation of the writing process and the creative mindset that has guided us for the last couple of years. It's been an interesting as well as an introspective way of working, having our instinct leading the way and then having to figure out where it takes us. But not only has it been a linear journey, some aspects of it is clearly circular. We have been a fan of Mark Lanegan for many years. So in 2005 when we wrote the song "And With Her Came The Birds" we had his voice in mind and the working title was "The Lanegan Song". But we were not many years over 20 and our lack of self-confidence prevented us from even daring to ask. It took fifteen years for us to get the guts to ask him. Hearing his voice on "Inside Of A Dream" is nothing more than feeling that we're inside of a dream. Johannes Persson

Red Creek's debut release, The Raging River, is a seamless continuation of the writing process and the creative mindset that has guided Cult of Luna for the last couple of years. "The Raging River" feels more like a bridge. A midpoint that needs to be crossed so we can finish what we started with "A Dawn To Fear". It's a seamless continuation of the writing process and the creative mindset that has guided us for the last couple of years. It's been an interesting as well as an introspective way of working, having our instinct leading the way and then having to figure out where it takes us. But not only has it been a linear journey, some aspects of it is clearly circular. We have been a fan of Mark Lanegan for many years. So in 2005 when we wrote the song "And With Her Came The Birds" we had his voice in mind and the working title was "The Lanegan Song". But we were not many years over 20 and our lack of self-confidence prevented us from even daring to ask. It took fifteen years for us to get the guts to ask him. Hearing his voice on "Inside Of A Dream" is nothing more than feeling that we're inside of a dream. Johannes Persson

Red Creek's debut release, The Raging River, is a seamless continuation of the writing process and the creative mindset that has guided Cult of Luna for the last couple of years. "The Raging River" feels more like a bridge. A midpoint that needs to be crossed so we can finish what we started with "A Dawn To Fear". It's a seamless continuation of the writing process and the creative mindset that has guided us for the last couple of years. It's been an interesting as well as an introspective way of working, having our instinct leading the way and then having to figure out where it takes us. But not only has it been a linear journey, some aspects of it is clearly circular. We have been a fan of Mark Lanegan for many years. So in 2005 when we wrote the song "And With Her Came The Birds" we had his voice in mind and the working title was "The Lanegan Song". But we were not many years over 20 and our lack of self-confidence prevented us from even daring to ask. It took fifteen years for us to get the guts to ask him. Hearing his voice on "Inside Of A Dream" is nothing more than feeling that we're inside of a dream. Johannes Persson

Red Creek's debut release, The Raging River, is a seamless continuation of the writing process and the creative mindset that has guided Cult of Luna for the last couple of years. "The Raging River" feels more like a bridge. A midpoint that needs to be crossed so we can finish what we started with "A Dawn To Fear". It's a seamless continuation of the writing process and the creative mindset that has guided us for the last couple of years. It's been an interesting as well as an introspective way of working, having our instinct leading the way and then having to figure out where it takes us. But not only has it been a linear journey, some aspects of it is clearly circular. We have been a fan of Mark Lanegan for many years. So in 2005 when we wrote the song "And With Her Came The Birds" we had his voice in mind and the working title was "The Lanegan Song". But we were not many years over 20 and our lack of self-confidence prevented us from even daring to ask. It took fifteen years for us to get the guts to ask him. Hearing his voice on "Inside Of A Dream" is nothing more than feeling that we're inside of a dream. Johannes Persson

'Solitarliy Speaking Of Theoretical Confinement' is the second solo album by American guitarost Ron Jarzombek, originally released in 2002. Essentially, the album is a long 45 minute instrumental song divided in small segments, a prodigious and totally unique feat
of technical ability and raucous imagination. As the songwriter for the legendary Watchtower, also Spastik Ink and Blotted Science, Jarzombek's talent appears limitless as he weaves deliriously complex sonic tapestries on an album that never feels like something
fabricated or overly thought through – despite the unreal technical level on display, the whole thing is a fun blast from beginning to end.
"a truly immense musical achievement" - Sputnik Music

'Solitarliy Speaking Of Theoretical Confinement' is the second solo album by American guitarost Ron Jarzombek, originally released in 2002. Essentially, the album is a long 45 minute instrumental song divided in small segments, a prodigious and totally unique feat
of technical ability and raucous imagination. As the songwriter for the legendary Watchtower, also Spastik Ink and Blotted Science, Jarzombek's talent appears limitless as he weaves deliriously complex sonic tapestries on an album that never feels like something
fabricated or overly thought through – despite the unreal technical level on display, the whole thing is a fun blast from beginning to end.
"a truly immense musical achievement" - Sputnik Music

A Haunted Tongue is the third album by Colossal Squid, the solo project of producer/virtuoso drummer Adam Betts (Goldie, Squarepusher, Melt Yourself Down, Jarvis Cocker). The first self-titled Colossal Squid album (2016) was intended by Betts as a way of exploring the process of creating music from purposefully limited tools (a drumkit and electronica) and finding a place where technology and live performance could happily meet. In comparison, the second album Swungert (2019) acted as a chance to see if the music written from that same process could be moulded (via collaboration and editing) into something more traditionally recognisable as a ‘song’. A Haunted Tongue moves things on one step further, letting the process and approach fade into the background, freeing Betts to balance a million inspirations (early 90s Warp, rave tapes, Nubian drumming, Indonesian gabba…) and filter them through an anything-goes punk aesthetic that results in a feeling of freedom that is both refreshing and rare. Betts has spoken of “a recurring dream of a stranger trying to get across an important message but not talking in any discernible language” that guided these recordings. This feels appropriate to the listener – the language of A Haunted Tongue isn’t straightforward or easily classified but yet the message is clearly understood and embraced by the listener at a primal level. That message is one of hope - channelling the shared euphoria of communal musical experience and searching for an uncynical and personal expression of positive energy that can move people and resonate with them. “A while back we had a chat with JR Moores, he was doing a Bandcamp piece on the label. We mentioned we wished we did more rave-related releases. Within seconds we had the Johnny Broke album in our inbox. Johnny Broke is actually Wayne Adams. Wayne messaged and told us about Adam Betts (AKA Colossal Squid). And here we are, dealing with someone who drums for Squarepusher and Goldie. Both Chris and I have the biggest love for 90s rave music. For me (Joe) I'm listening to an alternative world that I was old enough for but missed out on. I knew the music but didn't have the knowledge to drive around the M25 looking for the fields. It's a history I don't quite have but feel like I do. It's like the Beatles: known all my life but no idea why. It's cut into our DNA. It was our punk rock but we missed it. This Colossal Squid album, no matter how many times I listen to it, brings something new every time. And it makes me feel like I'm finally there” – Wrong Speed HQ

Peacefull darly... The Violent Cases 09 explore a new artist. His first record ! A sound very Dark Hardcore influenced, and even sometime Hard trance and Doom.

Oozi who did the mastering, also was a smart choice considering the music style here...

Fresh Dark Acid sound !!!

Reflets de ses voyages, reflets de ses imaginaires, et figures tutélaires, notre bagpacker préféré prend un peu plus la route du western africain avec ses synthétiseurs comme unique boussole . Le fil rouge qui s'impose rapidement à lui c'est cet instrument qui
a traversé les siècles : le balafon. Il invite également leseprésentant.es du monde moderne, icône de la scène afro électronique à participer à l'écriture de cet incroyable deuxième album .


La production débute en novembre 2022 par une résidence à Korhogo, au nord de la Côte d'Ivoire. À cette occasion, Praktika invite le balafoniste burkinabé Innocent Kimpe pour sept jours de jam session. La transe s’opère et se matérialise dans 4 tracks aux sonorités très organiques.

Le voyage se poursuit par la rencontre avec le grand balafoniste malien Lansiné Kouyaté (Kouyaté & Neerman,Salif Keita, Fatoumata Diawara, Damon Albarn…).

Dans une atmosphère plus soutenue, techno de détroit et touches acides viennent colorer le timbre des lames de bois de vène, donnant vie à deux nouveaux morceaux.

Reprenant ses recherches, Praktika découvre par hasard l’existence de Zélé de Papara, chanteuse ivoirienne des années 90 méconnue du grand public, dont la voix et l’histoire singulière éveillent sa curiosité.
De retour à Abidjan, il propose à la chanteuse Jahelle ainsi qu’à la rare griotte Burkinabé Dafra Keita de poser chacune leur voix sur un morceau en hommage à la chanteuse Zélé de Papara, la cantatrice Sénoufo.

Nourri de l’énergie des rencontres, il collabore enfin avec Sly A 10, ancien batteur de (Tiken Jah Fakoly) et grand percussionniste en Côte d'Ivoire, qui lui partage ses rythmes dans un Track sombre teinté de bass music.

Originally released in 1987, Life Time is the full-length debut by Rollins Band. This reissue—released on ROLLINS’ 2.13.61 label—has been remastered for vinyl by TJ LIPPLE and includes updated artwork by JASON FARRELL. Henry Rollins on Life Time: “Life Time is the first studio record by the Rollins Band. We did our first practice on 04-07-87 and went out on a long tour of America and Europe. On the road we wrote songs and put them into the set. By late October we finished the shows in London, UK. We went up to Leeds where Chris had a place to live and booked studio time at the same place that he and I did the Hot Animal Machine recordings a year before. I had no producer for this record and feared that since everyone in the band had strong opinions on how it all should be done that if we tried to do it ourselves we would do more harm than good. I called Ian MacKaye and asked for help. He got on a plane and came right out. That's Ian. We got straight to work as we had little time or money. All twelve songs were cut and mixed in a few days. We would do a take and Ian would tell us that it was good and we were moving on. When someone would say that they wanted to do it over again, he listened patiently and then asked again which song we wanted to do next. We got it all done and dragged it back to America for about 3,200 dollars. My, how things have changed. The album cover was drawn on the back of a diner place mat by Stephen Myers as a gift for my then roommate, Laura. Only the offset reproduction of the piece remains as the original went with her when she gave up her room. She shot herself a few years ago. Special thanks to Ian for coming to the rescue on such short notice. Thanks to you for checking this out.” Download code for full album plus live tracks. Also comes with lyric insert.

We're old and familiar friends. These compositions represent the thing that happens when we get together. They aren't representative of one individual, one moment in time, or one chain of decisions. Some are ancient refrains, beginning life as habits and warm-ups, in-jokes; others are distilled jams; more still are refined from MIDI sketches and ideas whistled into voice notes. On whatever terms these elements become something we're happy to stand in front of you and play, to put on record, so be it.” So ANTA describe the process behind 2024's Organesson. Characteristic of the Bristolian Sci-Prog quartet, the record weaves together mesmerising, muscular riffs in insanely loud compositions that extend well into excess. Less typical is the polarisation at play, where granular polymeters will yield in an instant to passages of one or two-note simplicity. The record strides from one raging refrain to the next, lurching between devastation, joy, chaos, and stirring the themes accumulated along the way in exposition. “It comes down to those precious sweaty hours” the group suggest, “in which we get to vibrate these sounds into your face and chest, and you can dance and laugh with us. This is the stuff we remember and plan for, the moments we talk about the most when writing these songs.” ANTA's live shows, ceaseless onslaughts of deafening riffs, have been notable for maintaining the same intense energy among festival crowds or to three people in a basement. Walls of amps going full-pelt. Pounding, ornate drums and metals, wherein drummer James King is relentless in discovering strange and mighty rhythms. Full-drawbar organs, electric pianos, piercing synths from keys-man Alex Bertram-Powell. Joe Garcia's growling bass that strides rather than walks. Ben Harris' all-encompassing, dizzying guitars. Hypnotic, communal, compelling, indefinite energy. Organesson is the latest effort to put this feeling on record.

"On “We Are Where We Are,” a glimmering mid-tempo highlight from Annabel’s new album, Ben Hendricks sings of “a modern way to fill the empty space.” Worldviews, the band’s fourth LP and first in nine years finds the band reconciling with the ways the world has changed in the decade since they’ve been away. His protagonists are trying to determine the boundaries between what’s real and imagined, navigating their worldviews and the dominant ones around them, fighting for an escape or at least a distraction, wondering where the time goes, “going through the motions, running in a circle.” That could’ve been Annabel’s fate, too. But the core of the Ohio band is brothers Ben and Andy Hendricks, and as long as they’ve got each other, we’ve still got Annabel. In a world that feels so uncertain and so disconnected, where else is there to turn but back to Annabel? Think of Worldviews less like a comeback and more as the product of years spent gestating.

Hendricks spends the chorus of “All Time” promising to “make up for all the lost time,” and Annabel makes good on that promise for the next half hour. Worldviews is the most locked in the band has ever sounded, perfecting and building on their indie-emo sound. The title track and “Dog” are classic Annabel, sprightly and jangly midwestern rock songs, while “Defense Mechanism” is a rougher-edged update; when they go in the opposite direction, it results in some of their best work: “Every Home Needs a Ghost” is spartan and spectral, worthy of its title, and the beautiful “Small Victories” dabbles in downtempo electronics. They don’t sound like a band returning after nearly a decade; they sound at the same time hungry and lively like scrappy upstarts and wizened and seasoned like they never left."

Is a (4 Track) offering from the (Trax) 'Golden Boy' Daniel Smith AKA (Late Nite 'DUB' addict). The self confessed 'House' Addict says he is privileged to release on the same label as some of his heroes in the house world such as (Mr Fingers) aka (Larry Heard) / Joey Beltram / Jesse Saunders / Chip-E / Phuture / Saytek & DJ Rush. He is a prolific producer that has released more than (x200) original tracks on (Trax Records) alone with
some remixes under his belt from (Screamin Rachael) / (Joe Smooth) / (Todd Terry) & (Armando). This Solid Underground House EP once again shows that this New Cat in the Chicago House Scene is still hitting with the Big Hitters and is a statement that his sound is here to stay.

Tilman offers up his new album ‘The Spirit Continues’ via his own Pleasant Systems this June, comprised of ten original compositions. Since 2008, the German producer Tilman has been honing his craft in House music through numerous EP’s on various respected labels and here we see him deliver his fourth long player. Taking in§uence from 80s NYC protogarage and Nu Groove’s era of deep house Tilman creates a collection of works which encapsulate the essence of his sound and history with House music over the past two decades, embracing a raw yet dreamy aesthetic throughout. Across the ten tracks Tilman employs sturdy, jacking rhythm sections, ethereal atmospherics, bumpy bass lines, shimmering chord sequences, infectious vocals and enchanting top lines culminating in somatic ecstasy.

My Back Was A Bridge For You To Cross, ANOHNI"s sixth studio album, expresses a world view by shape-shifting through a broad range of subject matter. Through a personal lens, ANOHNI addresses loss of loved ones, inequality, alienation, acceptance, cruelty, ecocide, devastation wrought by Abrahamic theologies, Future Feminism, and the possibility that we might yet transform our ways of thinking, our spiritual ideas, our societal structures, and our relationships with the rest of nature. On her first full album since 2016"s HOPELESSNESS, she explains the creative process was painstaking, yet also inspired, joyful, and intimate, a renewal and a renaming of her response to the world as she sees it. "Some of these songs respond to global and environmental concerns first voiced in popular music over 50 years ago." ANOHNI"s approach since her last record has shifted from someone tasked with challenging global denial, to an artist seeking to support others on the front lines. "I learned with HOPELESSNESS that I can provide a soundtrack that might fortify people in their work, in their activism, in their dreaming and decision-making. I can sing of an awareness that makes others feel less alone, people for whom the frank articulation of these frightening times is not a source of discomfort but a cause for identification and relief. On "It Must Change," ANOHNI soulfully describes systems in collapse with a note of compassion for humanity: "The truth is I always thought you were beautiful in your own way // That"s why this is so sad." ANOHNI"s voice is sensual and smoothed, selectively reaching to the edges of what it can contain. "We"re not getting out of here // No one"s getting out of here // This is our world," she murmurs. A portrait of legendary human rights activist Marsha P. Johnson taken by Alvin Baltrop features on the cover, reflecting a 25-year relationship with the memory of Johnson that ANOHNI has held space for in the presentation of her own work. Elsewhere, the album artwork states "IT"S TIME TO FEEL WHAT"S REALLY HAPPENING". In some ways it feels as if she is reaching across her life"s expression, and has found a moment of unique composure, wearing her long exploration of disarming intensity, with the maturity of a painter carefully choosing her colors. "I want the work to be useful, to help others move through these conversations we are now facing, to move with dignity and resilience through this bitter dawning."

DJ Cat comes through on Scruniversal here as the young label continues to go from strength to strength early in its existence. This time he serves up some re-edits and reworks of old and rare records from Scru's friends' collections. Up first is 'Roots & Culture' which is a languid funk workout with Prince style vocals bring some libidinous vibes up top while sci-fi synths and raw claps and perc all flesh out the groove. 'Possibelle' then cuts loose on a much more laid back and steamy summer vibe with the sort of chords that have you laying back in the park and staring up at a cloudless sky.

Rhythm N Vibe treats us to four different and equally brilliant garage cuts here from four different and equally brilliant artists. Marc Cotterell opens up with the slinky and dusty drums of '96 Is Back' powered by a rasping bassline. Jason Ward then brings some fresh 90s sounds with a neon baseline and diva vocals on 'The Meaning' while J Erazo keeps it deep and paired back on the sublime 'The Pulse' which is a real late night warmer. Paul French then layers up nice fresh and bumping drum funk on his lovely number 'Jump' (unreleased dub). There is lots to love here on a very useful EP.