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Indulge in a delicious audiophile epilogue to Princess P's Infinite Sonore compilation with this 2x12" musical offering.

Swiss DJ Princess P, known for her wide-ranging selections, that resonates equally on the dancefloor and in immersive listening spaces, has been a dynamic presence in the Swiss electronic scene since the mid ’90s and has cultivated a genre-defying style. Her sets have become staples at clubs like Zukunft and festivals such as Watching Trees and Convenanza, where she showcases her iconoclastic musical knowledge and maverick flair.

EN/JP liner notes by Doran and a hyper-realistic cover by Japanese visual artist/graphic designer Kai Yoshizawa using 3DCG software.

"8 Automated Works", the first full release by Componium Ensemble, an "indeterminate chamber music" ensemble helmed by Spencer Doran of Visible Cloaks. The project is inspired by the long history of automated musical instruments, beginning with the ancient Greek Archimedes and further developed by the Banū Mūsā brothers in 9th century Baghdad, who "first perfected the concept of a programmable, automated musician: a mechanically controlled flute which used hydraulic water pressure and a system of arrangeable punchcards using a visionary proto-MIDI structure", as Doran explains in the liner notes. This mechanical music-making was extended a millennium later with the use of aleatoric principles by the European Dietrich Nikolaus Winkel, inventor of the self-composing Componium mechanical music system. Doran continues this lineage further, using the possibilities of digital technology and its ability to automate a huge range of virtual instruments and introduce aleatoric elements, moving beyond human impulses and limitations, allowing "new shapes to emerge". Dedicated also to Noah Creshevsky, pioneer of what can be considered cyber-human music, Componium Ensemble features a wide and intriguing range of instruments including prepared piano, bowed harpsichord, celesta, bass clarinet, flute, cello, Balinese tingklik, and more, often in multiple groupings. Despite this variety of instrumentation and the seemingly formidable theoretical underpinnings, the music is very accessible and attractive, spacious and fresh, with a light touch and a sophisticated melodic sense which will appeal to pop fans as well as classical/contemporary music listeners. The album is mixed by longtime collaborator Joe Williams (Motion Graphics, Lifted) and available in 10-inch vinyl, ,

Comes with DL card, wrapped in shrink + a sticker. EN/JP liner notes. ** High grade experimental computer music that deserves a check - tip! **

The first LP release to commemorate the 10th anniversary of the release and to honor the late composer.

This collection, featuring seven pieces from 2011 to 2015, celebrates Noah Creshevsky's 70th year with a fittingly life-affirming and masterful verve. An award-winning composer who has studied with Nadia Boulanger and Luciano Berio, he began composing electronic music in 1971, using the power of circuitry, tape and then digital technology to create a "hyperreal" musical world in which recordings of human performers, both vocalists and instrumentalists, are juxtaposed and recombined in compositions which span eras, cultures and genres. His use of expanded musical palettes arises from an aesthetic of inclusion, guided by an open spirit and an expansive musical sense. The combination of the emotional power of human performances with the precision of computers create real-beyond-real super-performances of surprising control and virtuosity, resulting in a hypothetical and yet very real music, full of drama, humor, and tenderness. This album, Creshevsky's second release on EM, following the 2004 "Tape Music" compilation, gives ample evidence of both his mastery of digital technology and his profound, empathetic musical instincts. His ability to use the computer to highlight the gifts of human performers is displayed on every track, including a piece which focuses on Japanese vocalist Tomomi Adachi.

Die britischen Afro-Dub-Meister Soothsayers liefern mit "Fly Higher" ihr wohl bestes Werk ihrer drei Jahrzehnte langen Geschichte ab. Ihr mittlerweile 12. Studioalbum spiegelt die Essenz der Band aus Afrobeat, Soul, Jazz und Dub-Grooves wider. Die mitreißenden, eingängigen Melodien kommen durch dreistimmige Harmonien, Bläser-Hooks und hypnotisierende Basslines voll zum Ausdruck. Der Sound ist organisch und warm im originellen Soothsayers Songwriting-Stil, der eine Vielzahl von Einflüssen kombiniert, aber Klischees und Vorhersehbarkeit vermeidet. Featuring u.a. Youthsayers, die jamaikanische Jazzikone Tommy McCook, die britisch-nigerianische Sängerin Lizzy Donsumu, den ehemaligen Fela Kuti-Keyboarder Dele Sosimi und die britische Jazzmusikerin Julia Biel.











[i] BJP (Big John Price) [feat. Youthsayers]

For the first time in full, a unique anthology of Hungarian TV and radio recordings by the legendary guitarist Gábor Szabó, captured during his return visits to Budapest in 1974, 1978, and 1981. This historic collection documents the deeply personal reconnection of an exiled artist with his homeland, bridging musical worlds and emotional landscapes.


The first disc features both studio and concert recordings with some of Hungary’s top jazz players of the era, including the legendary double bassist Aladár Pege and renowned vocalist Kati Kovács. The second disc includes a rare televised concert from the Hilton Hotel (1978) and Szabó’s final known performance — a moving rendition of “From a Dream” recorded in 1981.


The music collected here captures a poignant duality: Szabó as both American and Hungarian, outsider and homecomer. This is one of the most intimate and emotionally charged chapters of his career and a musical homecoming, rich in atmosphere and soul.


As always with Ebalunga!!!, Gábor Szabó’s legacy is treated with great care and passion. This edition features a 2LP gatefold vinyl release, complete with an in-depth essay by Szabó’s official biographer Douglas Payne — a fascinating piece of cultural and musical research in its own right.
The visual design is the work of artist and industrial designer Anton Bogdanov. With no use of AI tools — just handwork, imagination, and deep respect for the material — the artwork invites the listener to spend long evenings in its layered atmosphere.


Mastering is by Grammy-nominated engineer Jessica Thompson, whose work has revived dozens of legendary archival recordings — including the previous four Szabó releases on Ebalunga!!!.


This album is also available as a 2CD set in an elegant 6-panel digipak, crafted with the same care and attention as the vinyl edition.


Two hours of sublime music, stunning sound, and timeless packaging — a true gift for fans of Szabó and those who cherish deep, living jazz traditions.

Auf "Describe" lernt Hannah Jadagu auf die harte Tour, dass Entfernung relativ ist. Nachdem ihr Debütalbum "Aperture" aus dem Jahr 2023 von Medien wie der New York Times und NPR mit begeisterten Kritiken bedacht wurde, führte Jadagus aufblühende Karriere sie weg von ihrer aufblühenden Beziehung in New York. Auf ihrem expansiven zweiten Album setzt sie sich mit dieser Trennung auseinander, findet Verbindungen, die über das Physische hinausgehen, und stärkt dabei ihre eigene Stimme. "Describe" schwingt diese Spannung zwischen dem Wunsch nach Verbindung und dem Verlangen nach Freiraum mit. Wie schon auf ihrem Debütalbum sind die Texte von einer emotionalen Präzision geprägt, die nur aus gelebten Erfahrungen stammen kann. "I've been five thousand miles away", singt sie über hallende Hi-Hats in "More" - "Why does three thousand feel like more?" Aber diese Distanz hat Jadagu auch dazu gebracht, neue Dimensionen ihres Sounds zu erkunden. "Ich stehe total auf Künstler, die Analoges mit Modernem mischen können", sagt sie, und der Umzug nach Kalifornien für den Sommer gab ihr die Möglichkeit, neue Kollaborateure kennenzulernen und mit analogen Synthesizern und Drum Machines zu experimentieren. Während das warme Summen ihrer Gitarre ihr Hauptinstrument für "Aperture" war, begann sie zu spüren, dass ihre Muskelgedächtnis sie zurückhielt. "Es war befreiend, an einem Synthesizer sitzen und eine Note spielen zu können, während ich meine Stimme erkundete", sagte sie. "Das empfand ich als etwas befreiender als das Spielen auf einer Gitarre." In Zusammenarbeit mit dem Produzenten Sora Lopez in seinem Studio in Altadena und aus der Ferne mit dem Co-Produzenten und Kollaborateur von ,Aperture", Max Baby, aus Paris, schuf Jadagu einen Sound für "Describe", der unverkennbar ihr eigener ist und sich völlig von den verzerrten Gitarrenmelodien ihres Debüts unterscheidet. Ein Großteil von "Describe" handelt jedoch von dem, was ungesagt bleibt: ,In diesem Album versuche ich vor allem, Ideen auszudrücken, die nicht immer so konkret sind", sagte Jadagu. ,Es ist einfach ein Fluss von Dingen, die ich fühle, durchlebe und ausdrücke." Passenderweise endet "Describe" mit "Bergamont", einem Song, in dem Jadagu einige ihrer bisher ehrlichsten Texte zu einem vielschichtigen Synthesizer-Sound singt, der die Anspannung und Entspannung eines langen, reinigenden Atemzugs nachahmt. "I hope you find something true to you ", singt sie. Auf "Describe" sucht Jadagu nach Worten, um die Wahrheit zu beschreiben, nach ihren eigenen Vorstellungen, und genießt die Ungewissheit dieser Reise.

Recorded at the same time as I and Then C93 were channelling Swastikas For Noddy, Imperium was the BackSide GrimStory to the Bright ’n’ Breezy (Locust) SummerTime Whistles of Swastikas For Noddy. I was very ill whilst making both records, and my main memories (along with Speed And Vodka, ThankYou, ThankYou) were lying sick on a grimy couch at the long-gone IPS Studios in Shepherd’s Bush. There was a heavy leak in the kitchen and the water was running over the studio floor and up my distressed, distressing leather jeans (with button-fly) and Into My Very Soul. Remastered from the original tapes by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside. This is one of the second group of 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2026, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.

OOOOH! by Alex Bad Baby Lukashevsky with Cocoa Corner (2025)

Celebrated veteran of Toronto’s music scene, known for his boundary-pushing approach to folk and avant-garde music, twists rock music into strange and brilliant new shapes with the help of young jazz players, U.S. Girls, and his own immensely talented son.



OOOOH! is hard on the outside and soft on the inside. Made in the spirit of unity,
humanity, and poetry — disobediently renouncing the glory of personal triumph for the
generosity of an honest experiment. On the last track of the album you’ll hear “Or do you only ever never want to make a single enemy? / That’s not freedom or humility / It’s nothing, honestly.” Oooh, that's a bad baby!

A celebrated Toronto songwriter and performer, Alex Lukashevsky has always been disobedient. Which simply means, nothing is off the table when he’s looking for his
poetic voice; when trying to find the realest I of the teller. As he sings on the lead track “that musician that’s dead” The musician is radical/ it’s the world that’s demented/ listening with their eyes, the music looks dented/ they’re over-represented.
OOOOH! was recorded in January 2024 at Sound Department in Toronto, engineered by Patrick Lefler (ROY), mixed by Grammy-nominated producer Matt Smith. All the songs were tracked live off the floor in two days, with one extra day for recording vocals, to keep the recording fully alive and breathing. As leader of Deep Dark United, as a solo performer, and a sideman in Brodie Wests’ Eucalyptus and Luka Kuplowsky’s Ryokan Band, Alex has been an outsized influence on the Toronto music scene that spawned acts like Broken Social Scene and Owen Pallett. (Pallett, who has toured with Lukashevsky, went so far as to record an entire album’s worth of Alex’s songs, backed
by a full orchestra.)

Lukashevsky has approached each of his albums and projects as something completely new, using only the musical boundaries he creates with each song. Even when he
has recorded songs with nothing but his voice and his own acoustic guitar accompaniment, the results are never “stripped down” or “back to basics,”
Gong! How do you get to heaven / have fun! have fun!
It’s cool to approach music as a game of “spot the influence”; Burt Bacharach-meets-Black Flag; Lana Del Rey-meets-LCD Soundsystem etc. Glorified mash-ups are promising because of their conversational nature. But they can turn us into hyperboreans; blowing cold air beyond ourselves while doing what we can to remain warm. To devise a game or a narrative is to have a winner and a loser, but we all know that just as you win/ so you lose. And does anything really change? Alex Lukashevsky and Cocoa Corner are more at ease drawing blind contours or playing an old game like consequences. They let things add up without knowing particularly how. Cognition is recognition.

Lukashevsky, in addition to writing all the songs, plays guitar and sings on OOOOH!, doing both in ways that are soulful and spikey at the same time. Joining him on guitar and vocals is his oldest child, Charlie Lukashevsky, who, at 23, is already a talented performer and songwriter in his own right. Cocoa Corner also includes Aidan McConnell, an in-demand drummer and composer, Jack Johnston, a jazz bassist and Barry Harris acolyte, and percussionist Evan Cartwright (The Weather Station, U.S. Girls, Cola, Tasseomancy), who plays steel pan and marching drum.

Working with his son and with other younger musicians is central to the album’s
unpredictable aesthetic. It reinvigorated the sound in unexpected ways. Lukashevsky says, “I had to reconsider my own instincts. I had to deal with being 99 years old.”
In addition to these performers, the album includes a tasty contribution from Meg
Remy, the visionary musician and producer who is the leader of the critically acclaimed
project U.S. Girls. Remy duets with Lukashevsky on the imagistic and sprawling album
closer “things keep happening.”
About that album title: OOOOH! is taken straight from “that musician that’s dead” an
arch and unhinged comment on the exertion required to navigate a lifetime of music making.
Lukashevsky’s delivery of that one emotive word is a kind of cultural posture, but also a
hundred percent primitive expression. The impact is never less than visceral. His vocal
delivery ranges through rich baritone blues to keening falsettos to a kind of sprechstimme that periodically steps out from the music to grab the listener’s shirt. He
doesn’t sound too nice, but he is sincere. When life gives you lemons lament.
For OOOOH! his first official full-length album since 2012’s Too Late Blues, (a collection of knotty-yet-effervescent tunes built upon the enchantingly serpentine harmonies of Lukashevsky and his vocal collaborators, Felicity Williams (Bahamas, Bernice) and Daniela Gesundheit (Snowblink, HYDRA)), Alex has once again broken apart and rebuilt his own approach to music. Or rather (because that sounds too over-determined), he
has allowed his music to build itself into strange new shapes that only fleetingly and
coincidentally, but happily, resemble anything that might be called rock and roll. There is some editorializing within the song’s lyrics— Lukashevsky even cheekily contributes to the “spot the influence” game with the line “Muddy Waters, Rite of Spring!” a funny preemptive strike against anyone already reaching for some variation of avant-blues to describe what the song is up to here. In fact there are many names checked on this record (literally and in spirit); they are the lily pads that trace the path of this expression! Palestrina, Peter Pears and Benjamin Brittain, Andrés Segovia, Stravinsky, Lotte Lenya, Alice Coltrane, Skip James, Chuck Berry, D’Gary, Betty Carter, Mukhtiyar Ali, Chuck D, Yoko Ono, Hailu Mergia, David Bowie, Jane Siberry. rhythm is a skeleton mansion / haunted by melody / feckless prodigy / the world is under a spell / cast by some demon angel / Practice day and night / Try as hard as hell / no one can sing that well Musicians are often worried by the way in which they are prepared to fail rather
than how they would like to succeed; it’s such a deep concern that it tempers their creativity and shackles their process. Current cultural proclivities, tend to comfort a certain kind of artistic failure and abnegate another kind. How many testimonials, full of heartfelt care and investment, have you heard for Taylor Swift, and yet a craftsman like Chris Weisman is often dismissed easily as though he’s doing something anti-social. what’s throwing itself in my ears and my eyes / arrogant devil ad hominem christ.
The music you will hear on this recording veers off in multiple directions at once,
and features a rock and roll spirit with a divergent heart. This is no sclerotic clomp of the Average Rock Song, but in fact a flood of humanity in all its darkness and moodiness and unpredictability. If most performers make songs that are like sports cars or pickup trucks to drive around, Lukashevsky has built something more akin to a rowboat in a tree: it’s weird and beautiful.

Das Dance Arts Center ist ein maximalistisches, genreübergreifendes Musik- und Performance-Projekt der in Los Angeles lebenden Künstlerin Nicolette Norgaard. Angetrieben von Tanzmusik und verwurzelt im Geschichtenerzählen, ist DAC der Ort, an dem Club auf Theater trifft und die Seele des Performers auf das Werkzeug des Produzenten. Ihr Debütalbum ,dance arts center presents" ist ein Konzept-Mixtape im Stil einer fiktiven Broadway-Cast-Aufnahme, komplett mit Ouvertüre und Entr'acte. Es untersucht, wie wir uns in Beziehungen verhalten, uns emotional verkleiden, uns für die Liebe verwandeln und wie die Show manchmal auch nach dem Fallen des Vorhangs nicht endet. Klanglich bewegt es sich in einer Welt aus synthlastiger, grooviger Tanzmusik, die von Indie-Pop-Sensibilität und durchdachtem Songwriting geprägt ist. Jeder Song ist eine Geschichte, und jeder Beat trägt etwas Schwereres in sich, als er vermuten lässt. Aber DAC ist nicht nur aufgenommene Musik, sondern ein sich ständig weiterentwickelndes Live-Erlebnis. Norgaard bringt das Projekt mit der Präzision einer ausgebildeten Performerin und der Freiheit einer Person, die auf der Tanzfläche erwachsen geworden ist, auf die Bühne. Die Live-Show ist theatralisch, narrativ, verspielt und selbstbewusst. Sie bezeichnet es als ,dekonstruiertes Theater" und verwendet von Fosse inspirierte Choreografien, Personas, Metafiktion und Sketche, um etwas zu schaffen, das die Grenzen dessen, was Musik und Theater ,sein sollten", sprengt.

Für Joyer, das Indie-Rock-Duo der Brüder Nick und Shane Sullivan von der Ostküste, ist Distanz in letzter Zeit ein seltsamer roter Faden - Distanz von zu Hause, Distanz zueinander, Distanz von einer stabilen Routine. Ihr aktuelles Album ,On the Other End of the Line_" reflektiert, wie Aufenthalte an weit entfernten Orten sie geprägt haben, Ängste und ein brennendes Verlangen nach Verbindung offenbart haben. Letztendlich ist es jedoch eine hoffnungsvolle Reflexion zweier unterschiedlicher Perspektiven auf wechselnde Kulissen und den Druck der Kreativität, gefiltert durch eingängige Ernsthaftigkeit und knackige Sechs-Saiten-Klänge. Seit ihrem letzten Album ,Night Songs", das 2024 erschien, sind sowohl Nick als auch Shane in andere Städte gezogen - Nick von Brooklyn nach Philadelphia und Shane von Boston nach Brooklyn - und mussten sich an ein neues Leben gewöhnen. Zusammen mit Joyers immer hektischer werdendem Tourplan, bei dem sie mit Horse Jumper of Love, Wishy und villagerrr, um nur einige zu nennen, suchten die Brüder nach gesünderen Ansätzen für ihr Leben auf Tour und zu Hause und kämpften mit der Einsamkeit in einer neuen Stadt. Trotz der Höhen und Tiefen war das Tourleben für Joyer bereichernd - sie trafen Gleichgesinnte und wuchsen als Band zusammen, was den Wunsch nach neuem Material weckte. Eifrig darauf bedacht, die Pop-Melodik von Night Songs noch weiter voranzutreiben, begannen Joyer mit dem Schreiben eines neuen Albums und buchten acht Tage in einem Studio in Chicago mit Henry Stoehr von Slow Pulp, der sie zu einem experimentelleren Aufnahmeprozess ermutigte, der an Joyers Zeit vor der Live-Band erinnerte, als sie ohne Deadlines im Keller ihrer Mutter Demos aufnahmen. Sie reduzierten ihre Shoegaze-Einflüsse zugunsten folkigerer Elemente und weniger konventioneller, ambitionierterer Arrangements. On the Other End of the Line_ zeigt Joyer von ihrer verletzlichsten Seite, weniger auf Bilder und Abstraktionen setzend und einen Blick auf ihr brodelndes Inneres gewährend.

Für Joyer, das Indie-Rock-Duo der Brüder Nick und Shane Sullivan von der Ostküste, ist Distanz in letzter Zeit ein seltsamer roter Faden - Distanz von zu Hause, Distanz zueinander, Distanz von einer stabilen Routine. Ihr aktuelles Album ,On the Other End of the Line_" reflektiert, wie Aufenthalte an weit entfernten Orten sie geprägt haben, Ängste und ein brennendes Verlangen nach Verbindung offenbart haben. Letztendlich ist es jedoch eine hoffnungsvolle Reflexion zweier unterschiedlicher Perspektiven auf wechselnde Kulissen und den Druck der Kreativität, gefiltert durch eingängige Ernsthaftigkeit und knackige Sechs-Saiten-Klänge. Seit ihrem letzten Album ,Night Songs", das 2024 erschien, sind sowohl Nick als auch Shane in andere Städte gezogen - Nick von Brooklyn nach Philadelphia und Shane von Boston nach Brooklyn - und mussten sich an ein neues Leben gewöhnen. Zusammen mit Joyers immer hektischer werdendem Tourplan, bei dem sie mit Horse Jumper of Love, Wishy und villagerrr, um nur einige zu nennen, suchten die Brüder nach gesünderen Ansätzen für ihr Leben auf Tour und zu Hause und kämpften mit der Einsamkeit in einer neuen Stadt. Trotz der Höhen und Tiefen war das Tourleben für Joyer bereichernd - sie trafen Gleichgesinnte und wuchsen als Band zusammen, was den Wunsch nach neuem Material weckte. Eifrig darauf bedacht, die Pop-Melodik von Night Songs noch weiter voranzutreiben, begannen Joyer mit dem Schreiben eines neuen Albums und buchten acht Tage in einem Studio in Chicago mit Henry Stoehr von Slow Pulp, der sie zu einem experimentelleren Aufnahmeprozess ermutigte, der an Joyers Zeit vor der Live-Band erinnerte, als sie ohne Deadlines im Keller ihrer Mutter Demos aufnahmen. Sie reduzierten ihre Shoegaze-Einflüsse zugunsten folkigerer Elemente und weniger konventioneller, ambitionierterer Arrangements. On the Other End of the Line_ zeigt Joyer von ihrer verletzlichsten Seite, weniger auf Bilder und Abstraktionen setzend und einen Blick auf ihr brodelndes Inneres gewährend.

Für Joyer, das Indie-Rock-Duo der Brüder Nick und Shane Sullivan von der Ostküste, ist Distanz in letzter Zeit ein seltsamer roter Faden - Distanz von zu Hause, Distanz zueinander, Distanz von einer stabilen Routine. Ihr aktuelles Album ,On the Other End of the Line_" reflektiert, wie Aufenthalte an weit entfernten Orten sie geprägt haben, Ängste und ein brennendes Verlangen nach Verbindung offenbart haben. Letztendlich ist es jedoch eine hoffnungsvolle Reflexion zweier unterschiedlicher Perspektiven auf wechselnde Kulissen und den Druck der Kreativität, gefiltert durch eingängige Ernsthaftigkeit und knackige Sechs-Saiten-Klänge. Seit ihrem letzten Album ,Night Songs", das 2024 erschien, sind sowohl Nick als auch Shane in andere Städte gezogen - Nick von Brooklyn nach Philadelphia und Shane von Boston nach Brooklyn - und mussten sich an ein neues Leben gewöhnen. Zusammen mit Joyers immer hektischer werdendem Tourplan, bei dem sie mit Horse Jumper of Love, Wishy und villagerrr, um nur einige zu nennen, suchten die Brüder nach gesünderen Ansätzen für ihr Leben auf Tour und zu Hause und kämpften mit der Einsamkeit in einer neuen Stadt. Trotz der Höhen und Tiefen war das Tourleben für Joyer bereichernd - sie trafen Gleichgesinnte und wuchsen als Band zusammen, was den Wunsch nach neuem Material weckte. Eifrig darauf bedacht, die Pop-Melodik von Night Songs noch weiter voranzutreiben, begannen Joyer mit dem Schreiben eines neuen Albums und buchten acht Tage in einem Studio in Chicago mit Henry Stoehr von Slow Pulp, der sie zu einem experimentelleren Aufnahmeprozess ermutigte, der an Joyers Zeit vor der Live-Band erinnerte, als sie ohne Deadlines im Keller ihrer Mutter Demos aufnahmen. Sie reduzierten ihre Shoegaze-Einflüsse zugunsten folkigerer Elemente und weniger konventioneller, ambitionierterer Arrangements. On the Other End of the Line_ zeigt Joyer von ihrer verletzlichsten Seite, weniger auf Bilder und Abstraktionen setzend und einen Blick auf ihr brodelndes Inneres gewährend.

Limited edition PLUTONIUM vinyl 1000 copies worldwide. Remastered by Bob Weston at Chicago Mastering Service. Originally released in 1986 vinyl reissue includes 2 bonus tracks. "This is a bit different than previous records in that there's only a couple of songs with their distinctive bass licks and chunky melodies. So instead of bordering on redundancy, they prove their diversity by being more melodic, rockin', and even pop. This LP is more challenging than before and really great." - MaximumRockNRoll, April 1986 - // Naked Raygun were an extraordinary staple in the Chicago music scene - beginning in the early 80's and continuing until their quiet demise in the early 90's. Their music showed the world that punk rockers could play and be really good at it. Founded in Chicago in 1980, by Marco Pezzati, Jeff Pezzati and Santiago Durango, Naked Raygun released six albums during their eleven year career that would change the sound of punk rock indefinitely. The band is widely recognized as being one of the most influential punk bands of the 80's. Their anthemic style incorporated politics in a uniquely accessible way, melding pop and hardcore into one cohesive sound, that would later be dubbed, "The Chicago Sound". Shortly after their first release, Basement Screams, Durango left to join Big Black permanently, and was replaced by John Haggerty, whose unique style of buzzsaw guitar would define Raygun's sound for their next four albums. Additionally, Pierre Kezdy replaced Camilo Gonzalez and Eric Spicer took over drums for Jim Colao. In 1990, Haggerty left the band to start Pegboy. Bill Stephens joined the band for their final studio release entitled, Raygun...Naked Raygun.

Limited edition DARK TEAL vinyl 1000 copies worldwide. Remastered by Bob Weston at Chicago Mastering Service. Originally released as a 6-song ep in 1983 vinyl reissue includes 8 bonus tracks. "The long- awaited NAKED RAYGUN EP has finally been released, and musically it's a beauty. The songwriting is extremely imaginative, the vocals are unbelievably catchy, and the unique fuzzed-out guitar work sounds wonderful." - MaximumRockNRoll, October/November 1983 - // Naked Raygun were an extraordinary staple in the Chicago music scene - beginning in the early 80's and continuing until their quiet demise in the early 90's. Their music showed the world that punk rockers could play and be really good at it. Founded in Chicago in 1980, by Marco Pezzati, Jeff Pezzati and Santiago Durango, Naked Raygun released six albums during their eleven year career that would change the sound of punk rock indefinitely. The band is widely recognized as being one of the most influential punk bands of the 80's. Their anthemic style incorporated politics in a uniquely accessible way, melding pop and hardcore into one cohesive sound, that would later be dubbed, "The Chicago Sound". Shortly after their first release, Basement Screams, Durango left to join Big Black permanently, and was replaced by John Haggerty, whose unique style of buzzsaw guitar would define Raygun's sound for their next four albums. Additionally, Pierre Kezdy replaced Camilo Gonzalez and Eric Spicer took over drums for Jim Colao. In 1990, Haggerty left the band to start Pegboy. Bill Stephens joined the band for their final studio release entitled, Raygun...Naked Raygun.

Limited edition GRAPE CRUSH vinyl 1000 copies worldwide. Remastered by Bob Weston at Chicago Mastering Service. Originally released in 1988 vinyl reissue includes 4 bonus tracks. "Plenty of bands can claim Naked Raygun as an influence, from post-punkers to hardcore acts. All of them could learn a thing or two or three by studying the whoas. With Jettison... Naked Raygun achieved creative bliss. Here is an album that successfully combines dissonant instrumentation with supremely catchy vocals." - Punknews.org - // Naked Raygun were an extraordinary staple in the Chicago music scene - beginning in the early 80's and continuing until their quiet demise in the early 90's. Their music showed the world that punk rockers could play and be really good at it. Founded in Chicago in 1980, by Marco Pezzati, Jeff Pezzati and Santiago Durango, Naked Raygun released six albums during their eleven year career that would change the sound of punk rock indefinitely. The band is widely recognized as being one of the most influential punk bands of the 80's. Their anthemic style incorporated politics in a uniquely accessible way, melding pop and hardcore into one cohesive sound, that would later be dubbed, "The Chicago Sound". Shortly after their first release, Basement Screams, Durango left to join Big Black permanently, and was replaced by John Haggerty, whose unique style of buzzsaw guitar would define Raygun's sound for their next four albums. Additionally, Pierre Kezdy replaced Camilo Gonzalez and Eric Spicer took over drums for Jim Colao. In 1990, Haggerty left the band to start Pegboy. Bill Stephens joined the band for their final studio release entitled, Raygun...Naked Raygun.

Limited edition ORANGE SWIRL vinyl 1000 copies worldwide. Remastered by Bob Weston at Chicago Mastering Service. Originally released in 1990 vinyl reissue includes 3 bonus tracks. "We drove up there and my cousin Tracy had turned punk rock. And she said, 'I'm going to this show tonight. Come with me.' And so I went to this club called The Cubby Bear - it's right across the street from the baseball stadium - and a band called Naked Raygun were playing, and they're this legendary Chicago punk rock band. But I'd never seen live music. So my introduction to rock and roll was in a club that held about 150 people that was half full and I was belly up against the stage watching this incredible live band, like, sweat and spit and bleed in front of me." - Dave Grohl interview, The Record, 2011- // Naked Raygun were an extraordinary staple in the Chicago music scene - beginning in the early 80's and continuing until their quiet demise in the early 90's. Their music showed the world that punk rockers could play and be really good at it. Founded in Chicago in 1980, by Marco Pezzati, Jeff Pezzati and Santiago Durango, Naked Raygun released six albums during their eleven year career that would change the sound of punk rock indefinitely. The band is widely recognized as being one of the most influential punk bands of the 80's. Their anthemic style incorporated politics in a uniquely accessible way, melding pop and hardcore into one cohesive sound, that would later be dubbed, "The Chicago Sound". Shortly after their first release, Basement Screams, Durango left to join Big Black permanently, and was replaced by John Haggerty, whose unique style of buzzsaw guitar would define Raygun's sound for their next four albums. Additionally, Pierre Kezdy replaced Camilo Gonzalez and Eric Spicer took over drums for Jim Colao. In 1990, Haggerty left the band to start Pegboy. Bill Stephens joined the band for their final studio release entitled, Raygun...Naked Raygun.

Limited edition GREEN SWIRL vinyl, 1000 copies worldwide. Remastered by Bob Weston at Chicago Mastering Service. Originally released in 1985 vinyl reissue includes bonus track. "This band consistently defies categories. More than hardcore. More than rock. More than experimental. And this LP blazes out with a fury that's sharp, clean, and loud as fuck. The sound on this release is more concise and focused than earlier stuff but doesn't sacrifice any of their drive. Possibly one of America's most important bands." - MaximumRockNRoll, March 1985 - // Naked Raygun were an extraordinary staple in the Chicago music scene - beginning in the early 80's and continuing until their quiet demise in the early 90's. Their music showed the world that punk rockers could play and be really good at it. Founded in Chicago in 1980, by Marco Pezzati, Jeff Pezzati and Santiago Durango, Naked Raygun released six albums during their eleven year career that would change the sound of punk rock indefinitely. The band is widely recognized as being one of the most influential punk bands of the 80's. Their anthemic style incorporated politics in a uniquely accessible way, melding pop and hardcore into one cohesive sound, that would later be dubbed, "The Chicago Sound". Shortly after their first release, Basement Screams, Durango left to join Big Black permanently, and was replaced by John Haggerty, whose unique style of buzzsaw guitar would define Raygun's sound for their next four albums. Additionally, Pierre Kezdy replaced Camilo Gonzalez and Eric Spicer took over drums for Jim Colao. In 1990, Haggerty left the band to start Pegboy. Bill Stephens joined the band for their final studio release entitled, Raygun...Naked Raygun.

Limited edition BROWN & BLACK SWIRL vinyl 1000 copies worldwide. Remastered by Bob Weston at Chicago Mastering Service. Originally released in 1989 vinyl reissue includes 2 bonus tracks. "...one of the best examples of melodic hardcore just a step away from emo. The album is excellently played and is full of breathtaking anthems that, from time to time, even wink at metal soundscapes." - Debaser - // Naked Raygun were an extraordinary staple in the Chicago music scene - beginning in the early 80's and continuing until their quiet demise in the early 90's. Their music showed the world that punk rockers could play and be really good at it. Founded in Chicago in 1980, by Marco Pezzati, Jeff Pezzati and Santiago Durango, Naked Raygun released six albums during their eleven year career that would change the sound of punk rock indefinitely. The band is widely recognized as being one of the most influential punk bands of the 80's. Their anthemic style incorporated politics in a uniquely accessible way, melding pop and hardcore into one cohesive sound, that would later be dubbed, "The Chicago Sound". Shortly after their first release, Basement Screams, Durango left to join Big Black permanently, and was replaced by John Haggerty, whose unique style of buzzsaw guitar would define Raygun's sound for their next four albums. Additionally, Pierre Kezdy replaced Camilo Gonzalez and Eric Spicer took over drums for Jim Colao. In 1990, Haggerty left the band to start Pegboy. Bill Stephens joined the band for their final studio release entitled, Raygun...Naked Raygun.

180 Gramm schweres schwarzes Vinyl. Violence Fog, eine sehr kurzlebige, aber kraftvolle Psychedelic-Rock-Band aus Baden-Baden, wurde 1969 gegründet. Die Besetzung umfasste Wolfgang Höfer (Gesang/Flöte), Karl-Heinz Höfer (Gitarre/Flöte/Gesang), Enno Dernov (Gitarre), Hilmar Beine (Bass) und Herbert Brandmeier (Schlagzeug). Ihre Musik mischte rohe, verzerrte Gitarrenklänge und britisch/amerikanisch beeinflusste bluesige Soli zu einem Sound, der von energiegeladenen Riffs bis zu stimmungsvollen und hypnotischen Psych-Jams reichte. Die Band baute sich schnell eine treue lokale Fangemeinde auf und spielte oft in Jugendzentren, Musikclubs und sogar bei Filmpremieren, wo ihre trippige psychedelische Lichtshow ihre Live-Auftritte begleitete. Ihr Repertoire umfasste sowohl Eigenkompositionen als auch Coverversionen von Songs wie ,Paint It Black". Violence Fog wurden bekannter, als sie am 23. April 1971 im Studio Ul des SWF-Radios in Baden-Baden fünf Titel aufnahmen, die ihr energiegeladenes Zusammenspiel aus schwindelerregenden Dual-Lead-Gitarren, Lautstärkedynamik und einer stimmungsvollen Rhythmusgruppe dokumentierten. Trotz ihres Talents und ihrer wachsenden Bekanntheit löste sich Violence Fog kurz nach Abschluss der SWF-Aufnahmen auf, was vor allem auf andere berufliche Verpflichtungen zurückzuführen war. Obwohl ihre gemeinsame Zeit nur von kurzer Dauer war, bleibt Violence Fog ein faszinierendes Kapitel in der lebendigen Psychedelic-Rock-Geschichte Deutschlands. Das Archiv-Plattenlabel Ancient Grease Records hat sich auf die Veröffentlichung seltener Heavy-Rock- und Psych-Musik aus den 1970er Jahren aus aller Welt spezialisiert. Begleitet wird das remasterte Audiomaterial von reichhaltigen visuellen Elementen und ausführlichen Liner Notes, um die unbekannte Musik dieser Ära für Sammler und neue Fans gleichermaßen wiederzubeleben und zu feiern.

The debut album from jazz multi-instrumentalist Yusef Lateef, Jazz Mood was originally released in 1957 on New Jersey’s Savoy label. Featuring five Lateef originals the album included Curtis Fuller (trombone), Hugh Lawson (piano), Ernie Farrow (bass), and Louis Hayes (drums). This new edition of the album is released as part of the Original Jazz Classics Series on 180-gram vinyl pressed at RTI with all-analogue mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.

Jazz saxophonist Hank Mobley’s 1957 album Jazz Message #2 was originally released on Savoy in 1957. Featuring five cuts, including three Mobley compositions, the album features an ensemble of players, including Lee Morgan (trumpet), Hank Jones (piano), and Doug Watkins (bass). This new edition of the album is released as part of the Original Jazz Classics Series on 180-gram vinyl pressed at RTI with all-analogue mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.

Local Action is proud to present Daughters, the debut album by Jennifer Walton.

Walton is a beloved figure across various sectors of the alternative music underground. Outside of her own music and soundtrack work, she has been a live drummer for Kero Kero Bonito, collaborates with Sarah Midori Perry on the pair’s Cryalot project, has remixed Metronomy and worked with Iceboy Violet, BABii and more. She also makes music and DJs with close friends aya and 96 Back under the name Microplastics, and recently contributed to London collective caroline’s acclaimed caroline 2 album.

The first seeds of Walton’s debut album were sowed during touring North America in 2018, where whilst ticking off life-long music goals, Walton’s father was dying of cancer. Grief is a constant presence throughout Daughters, and specifically the surreal nature of having to process it amongst a blur of airports, flight connections, hotel rooms and battles for stolen medication with the American healthcare system. Strip malls, drug deals, panic attacks; the artificiality of downtown American city districts dovetailing with reality in its most brutal form. Miss America for a day while life is changed forever.

Weaving between real life diary entries, travelogue-style storytelling, imagery that ranges from mechanical to religious and a scattering of fiction (though we are obliged to mention that ‘Shelly’ is based on a true story), Daughters climaxes with the staggering run of ‘Saints’, ‘Miss America’ and its title track. Sampling unattended machines harmonising bleeps into the void in a London hospital ward, ‘Saints’ narrates Walton taking her father to and from cancer research trials, “sat, hunched and sick in the concourse as minutes became hours”. And to be very real for a moment, Jen is a friend, and first hearing the ‘Miss America’ demo is up there with the most emotional moments we’ve had in 15 years of running this record label.

Finished in London across the second half of 2024, Daughters features musical contributions from some of the closest friends and collaborators that Walton has made in her time as a musician: aya (who also mixed the album), Daniel S. Evans, Joshua Barfood and Nick Granata (all of Shovel Dance), Alex McKenzie (of caroline and Shovel Dance), Aga Ujma and Bob Lockwood.

2026 Repress

Tame Impala’s fifth full-length album ‘Deadbeat’. On it, Parker sculpts a collection of wickedly potent club-psych explorations as a vehicle for some of his most direct, brain-wormy songwriting to date, recasting Tame Impala as a kind of future primitive rave act in the process.

Deadbeat sounds like the work of an artist with a levelled-up mastery and bristles with a revitalized energy for experimentation. 12 songs crafted with a newfound embrace of spontaneity for the renowned perfectionist. How that manifests is a distinct minimalism and crunch to many of the tracks, with a clutch of crucial details, timbres and textures that add an ineffably new dimension to the sound, as well as a richer, more playful vocal range than ever.

“L’amour à folie” is Amadou & Mariam ‘s final album. It was created entirely while Amadou was still with us, making this release especially meaningful and deeply emotional. Amadou is gone, but the music and voices still resonate, an echo suspended beyond time and space. It is Mariam’s wish, after the mourning period, to return to the stage with the new album that the couple composed and recorded together over the past seven years.

Among the most revered voices in funk, Marva Whitney holds a special place thanks to her fierce energy and unmistakable style on tracks like the classic 'Unwind Yourself,' a long-time favorite for DJs and dance floors alike. Emerging from the dynamic world of the James Brown Revue in the late 1960s--alongside iconic names like Lyn Collins and Vicki Anderson--Marva quickly carved out a name for herself. In 1969, she began recording as a solo artist under James Brown's King label, scoring a Top 20 R&B hit with 'It's My Thing.' While mainstream hits were few, her music resonated deeply with funk lovers and crate diggers around the world. Songs like 'You Got to Have a Job' and the endlessly sampled 'Unwind Yourself' have only grown in stature over the decades. Her album, "It's My Thing", dropped that same year and has since become a touchstone of the genre. Backed by the legendary JB's and produced by James Brown himself--who also contributed to most of the songwriting--the album captures a raw, unapologetic funk sound with a distinctly female voice at the forefront. From the explosive opening of 'It's My Thing'--a bold response to the Isley Brothers' 'It's Your Thing'--Marva channels sheer intensity, backed by a band that doesn't let up. The pace briefly softens with 'If You Love Me,' a soul soaked ballad in the spirit of Otis Redding, before diving back into the rhythmic grit of tracks like 'Unwind Yourself.' Decades later, "It's My Thing" continues to inspire, sampled by producers and treasured by collectors--a powerful snapshot of funk at its most uncompromising. Reissue on 180g vinyl.

For Martin Gretschmann, the ever-evolving Berlin artist known as both Acid Pauli and Console, music has always been a deeply personal journey.
His new imprint, All Is Acid, is the destination, a creative home for his uncompromising and experimental sound. Breaking from the cycle of trends, the label is a return to the essential, offering just a few curated releases a year. Each is intended as a timeless artifact for deep listening, primarily showcasing Acid Pauli's own intricate and intimate productions.
The label debuts with a newly remastered version of his classic 2010 EP "Den Mahlstrom rauf." But the release is given a powerful new dimension by a standout remix from Italian artist Adiel. Their collaboration was sparked by pure serendipity: a fan video of Acid Pauli playing her music in Milan reached Adiel, who responded with a short film for Vogue. In it, she revealed that "Den Mahlstrom rauf" was a formative influence and one of the very first records she ever bought.
Inviting her to remix the track that helped shape her sound was a full-circle moment, artistically and emotionally. Her bold, reverent reinterpretation honors the original's spirit while imprinting it with her own unique signature. With this release, All Is Acid launches not just with music, but with a story of connection, community and a shared artistic lineage

Wally Badarou is a synth pioneer and musical polymath. But rarely does he sing over his sumptuous tracks. The 6 songs that comprise new record Simple Things finally realise Wally's vision for select backing tracks from his beloved Colors Of Silence.

The tracks were originally developed back in 2001 for the release of the original CD; here, Wally has “simply" added overdubs and vocals to their mastered mixes with some discerning edits. Simply put, Simple Things is another slice of simply stunning Wally Badarou genius.

Simple Things has been decades in the making. Indeed, Wally struggled not only with the idea of singing these wonderful songs himself but singing them in English and writing his own lyrics, while wrestling with the sensational backing tracks, which themselves seemed to have taken on a life of their own.

As Wally explained to us: "In addition to the instrumental artist I have been known as, so far, there has always been a singer who simply was not sure he was, up until now. Even though “Back To Scales Tonight”, my very first album, was, indeed, a song album."

Opener "It Couldn't Be You" embellishes the uptempo groove of soca-funk gem "The Lights Of Kinshasa". As Wally explained to us, it's about “a simple love story somewhere, one rainy night, under the lights of Kinshasa. A woman, a man, online dating, quite usual in our times. Then they meet, almost missing each other." The guide vocal Wally had laid for Colors Of Silence - with an organ sound - seemed striving for words in Linguala, a Congolese language he could not speak. Therefore the decision to do it himself was not an easy one, for it had to be in English to fit his singing. We think it turned out pretty good!

"You Can't Hide Always" vocalises Wally's deep concerns set to the propulsive "Smiles By The Millions": "Populism, ostracism, radicalism, ethics and values all turned upside down worldwide, are they all inevitably exacerbated by our social networks? It could all melt down one day, like a house of cards in the ocean of fake news and false prophecies”. Wally wanted to keep the track as bare as possible but, inevitably, the backing vocals and the synth-brass arrive ultimately to present a welcome 70s flavour, with no snare-drum added.

The bright and breezy "We'll Make It Again" adds vocals to "Where Were We", a tropical, reggae-tinged bounce through the islands. Here's Waly: "Where were we when we last said: "I love you"? Simple words to express something quite common, but never quite simple to deal with. A simple song about the resilience of the broken hearts.” The reggae came from it being conceived when Wally was scoring for “Third World Cop”, a 1999 Jamaican action movie.

"Walk Straight Ahead" provides Wally's gorgeous, contemplative and idiosyncratic vocals to the deep serenity of Colors Of Silence highlight, "Amber Whispers". It's a gliding, divine, mini melodic masterpiece. It'll make you swoon in its extreme beauty. As Wally describes, "it started as just whispers, sweet amber whispers. Then the colour turned darker, as darker skies seemed to fall upon us while the whole world keeps on walking ahead, straight ahead, regardless of the blatant warnings, feeling much too comfortable in conformity. Initially, the verses were to be spoken only. I realised they could be sung all the while, without overshadowing the ethereal atmosphere." Amen.

The serene, celestial "Painting My Life Blue" presents the vocal version of "Days To Wonder". Says Wally, "how does it feel when your second half is gone after decades of riding life together? Past the temporary loss of your bearings, you come to realise you've been blind to the essential, and suddenly you can see...For this most intimate song of mine, I had tried to come up with a melody on top of the existing backing track, long before realising the melody was in the keyboard part already. It just needed to be properly mixed with it."

The profoundly emotional "Just Two Lovers" works up the formerly-too-brief and glorious "Crystal Falls" into a much fuller masterpiece and features acoustic guitar sparkle before fully glistening with some gentle head-nod percussion. Waly explains further: "Dear little green men, please tell me, what is it about us that makes you want to come and visit us so often (contrary to Fermi's assertion)? And here is the reply I believe I heard them sing: "You've got the key you've been searching for: Love”. I reverted to the initial backing track I had made around 1985, which already bore the melody, and which I added acoustic guitars to, before singing it." An astounding closer.

A synth specialist, there can be few artists more under-appreciated given their vast influence than Wally Badarou. His solo work practically defined the sound of the Balearic DJs of the 1980s, and thus the more sophisticated sound of dance culture thereafter. He was one of the Compass Point All Stars (with Sly and Robbie, Barry Reynolds, Mikey Chung and Uziah "Sticky" Thompson), the in-house recording team of Compass Point Studios responsible for a series of albums in the 1980s recorded by Grace Jones, Tom Tom Club, Mick Jagger, Black Uhuru, Gwen Guthrie, Jimmy Cliff and Gregory Isaacs. Badarou's keyboard playing could also be heard on albums by Robert Palmer, Marianne Faithfull, Herbie Hancock, M (Pop Muzik), Talking Heads, Manu Dibango and Miriam Makeba. He also produced Fela Kuti. Phew!

When we asked Wally about the significance of this collection's title, he explained: "These are "Simple things” that everyday’s life seems to build upon. The simplest are the harder to describe, but when satisfactorily described i.e. with simple words, they are the more genuine and authentic to express and share. I’ve immersed myself in other classic song lyrics, something I hardly did before, just to appreciate the genius behind the simple words they were made of, and had a great time studying how powerful they were in expressing complex ideas such as love."

Recording was twofold: first, most of the backing tracks were recorded in 2001, in Wally's studio in Normandy, mostly using hardware synths and Yamaha digital consoles. Then, he fine-tuned the melodies and wrote the lyrics in late 2023, then added some overdubs and sang them all during summer 2024. States Wally, "Digital Performer was and remains the DAW I’ve been using throughout, ever since the 80s."

Wally's sophisticated synth textures and expressive keyboard runs are so full of character, so full of life, that this work of art transcends any easy genre categorisation. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland. Sometimes, the simple things are the most extraordinary.

The anticipation is there in Elizabeth Stokes’ solo guitar riff under the opening lines of “I’m Not Getting Excited”: a frenetic, driving force daring a packed Auckland Town Hall to do exactly the opposite of what the track title suggests.

As the opener of The Beths’ Auckland, New Zealand, 2020 expands to include the full band, the crowd screeches and bellows. It’s a collective exhalation, in one of the few countries where live music is still possible.

The album title, and film of the same name, deliberately include the date and location, lead guitarist Jonathan Pearce says. “That’s the sensational part of what we actually did.” In a mid-pandemic world, playing to a heaving, enraptured home crowd feels miraculous.

In March 2020, everything seemed on track for another huge year for The Beths. Home after an 18-month northern hemisphere tour, they had just finished recording sophomore album Jump Rope Gazers and were primed for more extensive touring. But within days, New Zealand’s lockdown split the band between three separate houses. All touring was cancelled.

“It was existentially bad,” Stokes says. As well as worrying about economic survival, they lost something crucial to the band’s identity: live performance. “It's a huge part of how we see ourselves... What does it mean, if we can't play live?”

The band found an outlet through live-streaming, returning to the do-it-yourself mentality of their early days to connect with a global audience. The album and film have their genesis in that urge to share the now-rare experience of a live show, as widely as possible.

The fuzzy-round-the-edges live-streams pointed the way aesthetically. Native birds, wonkily crafted by the band from tissue paper and wire, festoon the venue’s cavernous ceiling while house plants soften and disguise the imposing pipes of an organ. The presence of the film crew isn’t disguised: much of the camerawork is handheld; full of fast zooms and pans.

With much of the material still fresh, the band was less focused on re-invention than playing “a good, fast rock show”, Pearce says. The tempo is up on crowd favourites “Whatever” and “Future Me Hates Me” (released as a live single on its third anniversary) as both band and audience feed off the mutual energy in the room.

Certain songs have taken on special resonance post-Covid. Pearce has found “Out Of Sight”, a tender rumination on long-distance relationships, hits particularly hard with live audiences.

Album closer “River Run” visibly brings Stokes to tears as a mix of achievement and relief kicks in. “You can finally relax at that point … You play the last note, breathe out a sigh and look up - and you’re in a giant room full of people happy and smiling.”

Introducing OBI02 – Plight of the Gifted EP by TB Shine, the second release on
Dutch-label OBI Trackz.

Operating under various aliases since the early 2000s, TB Shine is one of the many expressions of Norwegian artist Terje Bakke. Plight of the Gifted EP holds five tracks that drift between hypnotic minimalism and raw percussive workouts, told through disjointed rhythms, haunting atmospheres, and layered tension.

The A side kicks off with Dopamine Dungeon—a slippery, low-end-driven roller wrapped in hazy textures and unstable euphoria. The track traps the listener in a quirky haunt, like the title describes accordingly. Red Army Moody Troopers follows with a tougher edge: straight drums, spectral pads, and an undercurrent of unrest. It’s a track that marches forward but never fully lands, suspended in an unresolved urgency.

On the B side, Plight of the Gifted appears in two versions. The original leans into emotional melodic motifs and fragmented structures, evoking both vulnerability and defiance. The Haunted Version strips things back further—bleeding with space, odd grooves, and a kind of post-club phychosis that lingers long after. Closing the EP is Plague Doctor, a slow-burning piece where a hopeful melody echoes and distant percussion round off the release with a sense of closure while being wrapped in a warm blanket.

With Plight of the Gifted EP, TB Shine offers a layered and personal collection— one that walks the tightrope between control and collapse, rhythm and mood. A fitting next step for Obi Trackz: cryptic, cinematic, and carved with intent.

PRAED return to Discrepant, after their 2017’s entry Fabrication of Silver Dreams (CREP44)

Known for their signature blend of Egyptian Shaabi, free jazz and improvisation, the Lebanese duo behind PRAED - Raed Yassin and Paed Conca - now assemble a full orchestra for the second time taking the music to a deeper, rooted level.

Following their 2020 release Live in Sharjah, also under the PRAED Orchestra! moniker, the duo now revisit their unique blend of Arabic heritage and free jazz sensibilities with an album that keeps pushing further into strange and unexpected directions.

The Dictionary of Lost Meanings is just that, seven fully composed pieces and large-scale improvisations, performed by an expanded ensemble of musicians from across the globe. The result is dense and playful, unpredictable but familiar, a record where Arabic rhythms and microtonal melodies collide playfully against electronics, warped vocals and orchestral textures.

It’s less about genre than about memory — like tuning into a radio station broadcasting from somewhere between the past and the future.

PRAED continue to blur the line between popular culture and experimental music in ways that feel both grounded and completely their own.

PRAED ORCHESTRA! are
Raed Yassin: Synthesisers, Vocals, Beats
Paed Conca: Clarinet, Electric bass
Alan Bishop: Alto saxophone, Electric bass, Vocals
Andreas Bral: Harmonium, Electronics
Elisabeth Klinck: Violin
Christian Kobi: Soprano and Tenor Saxophones
Hans Koch: Bass Clarinet
Martin Küchen: Alto and Sopranino Saxophones
Maurice Louca: Synthesizer, electronics
Stan Maris: Accordion
Radwan Ghazi Moumneh: Buzuk, Vocals, Modular Synth
Youmna Saba: Electric Oud, Vocals
Sam Shalabi: Oud, Electric Guitar
Els Vandeweyer: Vibraphone
Khaled Yassine: Drums, Percussion
Michael Zerang: Drums, Percussion
Recorded by Jasper Jan Peeters at the Summer Bummer Festival, DE Studio,
Antwerp August 26, 2022
Mixed by Adham Zidan
Mastered by Mark Gergis
Produced by PRAED
Photos by Geert Vandepoele

Los Angeles-based duo LUCKYANDLOVE are back with their third album, evoking a new sense of art school originality, following their critically acclaimed “Transitions” album. The duo defines 'Humaura' as the atmosphere that emanates from the feelings of the human spirit void of technological control.

Blending raw analog synth sounds with driving punctuated percussion and punchy analogue bass, LUCKYANDLOVE’s music is shaped by the embers of Siouxsie and The Banshees and Bauhaus, resonant spectres carry over from synth-laden galaxies, where the needle hits the vinyl groove and Doc Martens marched to basement dance floors.

LUCKYANDLOVE is the raw sonic experiment of Loren Luck and April Love, whose music transcends genres. Their live analogue synth beats, Moog instrumentation and beautiful, harmonic vocals trigger an immediate download of fuzzy sunset synthgaze, blue-black neon darkwave, and tigerprint electro punk.

“‘Humaura’ is an action-packed, cinematic, entertaining and soulful electro-dance record full of fresh air and wide-open roads where there is more freedom to party, to be in nature, and to be our wild selves,” says April Love.

Fusing together pulsating molten kicks, abrasive fuzz-laden analog synths and sensual vocals, the anti-tech angst anthem ‘I Am Human’ is a call to take back our lives, underlining the need to reconnect with being Human before it’s too late. ‘Lonely at Night’ is a "last call" bar track about the desperate, frantic desire for human connection, building from a haunting sense of isolation to a fast-paced, climactic reunion with a crush. Elsewhere, this album features enchanting lyrics rooted in emotions from melancholy and sorrowful glom to a state of blissful trance.

This album was recorded, mixed and mastered for digital release by Grammy award-winning engineer Be Hussey (Modern English, Twin Tribes, Boy Harsher) at Balboa Studio and Catwater for the digital music, and mastered for vinyl and lathe-cut by Grammy-nominated engineer Nicholas Townsend (Weezer, Grimes) at Townsend Mastering.

Their 'Lucky + Love' and 'Transitions' albums having earning them a global fan following, US and UK tours, multiple tracks featured in the indie hit film 'Tiger Within' (Ed Asner's final performance), and wide acclaim, noting their “soulful, synthesized sound" (LA Weekly), “spectral synths and dazed-dreamy feeling” (Big Takeover Magazine), not to mention their "uncompromising and inventive sonic experiment” (The Spill Magazine) and sound that “oscillates between the asphalt synth streets & interstellar outer realms” (Impose Magazine).

LUCKYANDLOVE’s visceral, dark electro-pop appeal continues to stretch through time and space. Praise for the album’s lead track ‘I am Human’ have poured in from over a dozen countries. ‘Humaura’ promises to cement the duo’s reputation as one of America’s most vivacious electronic / synthwave acts, positioning them firmly within the lineage of artists like Phantogram, Ladytron, The Soft Moon, Twin Tribes and ACTORS.


‘Humaura’ Press:

“...In contrast to its synth-laden darkwave and electropunk sound, the song presents lyrical themes of championing the human spirit and emotions over the technological void" ~ Regen Magazine

“Moog textures and distorted synth tones weaving together like electric currents. An industrial edge that carries a dreamy undercurrent, nodding to darkwave, punk rock and post-punk influences without sounding dated" ~ Myth of Rock

"Every second and note is a meld of lava-esque incitement and beguiling melodic fixation and a breath to unpredictability and stirring fuzz hued uniqueness… a thrilling encounter" ~ The Ringmaster Review

"Layers fall into place and give rise to soaring vocals. The beautiful timbre of her voice sits over the landscapes of sound and reveal poignant lines that hit home." ~ Sound Read Six

Devianza, leading artist and owner of the label, returns to production by launching a new series of single-sided vinyl releases, each featuring only two tracks. The first instalment is a sonic catharsis rising from the very depths of a generous land, abundant with new seeds ready to sprout.

‘Le Piante di Elena’ is a dreamlike homage to a primordial world — untouched, pure, and still fertile. A tribute to a newborn bearer of the most radical values of a necessary humanism: a call to return to nature in its most spiritual and purest form. Devianza appears to be evolving into a higher, more spiritual dimension, where spirituality itself becomes the guiding force behind his musical production.

The single side opens with ‘Betullae’, a hypnotic ride between deep and leftfield, characteristic of Devianza’s sound, but this time enriched with an Indian tonal and modal flavour. Forest landscapes are traced by piano motifs that evoke interstellar journeys among endless birch trees.

‘Sunflower Sunset’ continues the hypnotic drift with a melodic crescendo that conjures the image of a sunflower field bathed in the warm glow of a summer sunset without wind. Here, where everything stands still yet everything is, this eight-minute piece becomes proof of the rarefaction of time — an instant that, though fleeting, feels infinite.

For fans of: Donato Dozzy, Voices From The Lake, Luigi Tozzi, Claudio PRC.
Related labels: Spazio Disponibile, Hypnus, Semantica, Silent Season.

Heavyweight Dub album by Alien Trackers, a new project by cosmic trumpet specialist Pablo Volt (STA) and Jahtari space ship mechanic disrupt, landing right in the sweet spot between soulful Black Ark-warmth, digital Firehouse dancehall hitters and Jahtarian Dub psychedelics.

A lazy day at a beach, in a galaxy far, far away... Feel the sand between your tentacles and splash in the emerald acid sea. Snorkel with plasma squids and shock eels. Marvel at the double suns during the magic twilight cycle and bask in their glorious gamma rays. Gaze into the depths of the local Vortex...

Coming on alien-green vinyl, with hand drawn art by David 8000 Farris, additional bass & guitars from Dubsworth, and an all four thumbs up-rating, 'Dubs from Vortex Beach' is landing in your orbit right now!
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"Waves of Desire" from Canadian Singer/Songwriter Jerry Leger is the perfect follow-up to his previous studio effort, "Donlands". Produced by Mark Howard (known for his work for such as Lucinda Williams, Bob Dylan, and Tom Waits), it is a record full of vulnerability, space and atmosphere. "Waves of Desire" expands on this but with more pop sensibilities and textures. One of the most respected singer-songwriters around, Ron Sexsmith says, "Leger has that spark in him that all the great songwriters have. He"s the real deal."

Die Live Laugh Love-Kampagne ist in den Themen Wellness, Wachstum und der Philosophie des Albumtitels Live Laugh Love verwurzelt. Ironie wird als Werkzeug für den Humor genutzt, aber das Gefühl dahinter ist echt. Es spiegelt Earls aktuelle Lebensweise wider, bei der er sich für die Freude entscheidet und gleichzeitig in der Wahrheit geerdet bleibt. LLL weckt ein Gefühl von Nostalgie. Es erinnert uns an eine Zeit, in der sich das Leben voller Einfachheit und echter Verbundenheit anfühlte. Aber das ist kein blinder Optimismus. Blut, Mut und Dunkelheit existieren neben der Freude. LLL lässt Raum für Widersprüche und wählt trotzdem die Liebe.

"Carmina Burana macht Spaß, denn das Werk hat echte Emotionen. Das sind die beiden markanten Punkte, die in dieser lebhaft charakterisierten Aufführung deutlich werden und viele neue Hörer und Genießer gewinnen dürfte.“ Gramophone Magazine. André Previns bahnbrechende Aufnahme der Carmina Burana mit dem London Symphony Orchestra aus dem Jahr 1974 ist nach wie vor eine der elektrisierendsten Darbietungen von Orffs überschwänglicher Kantate. Vom bedeutungsvollen Eröffnungslied O Fortuna bis zum schwärmerischen Schlusschor bringt Previn die rhythmische Vitalität, die Sinnlichkeit und das theatralische Flair dieser hedonistischen Feier des Lebens und der Liebe zur Geltung. Die Solisten – Sheila Armstrong, Gerald English und vor allem Thomas Allen glänzen mit Klarheit und Charakter, während der London Symphony Chorus und der temperamentvolle Knabenchor der St. Clement Danes Grammar School die Aufführung abrunden. Nun erscheint diese Aufnahme auf Vinyl.

Crate digger and music enthusiast James Endeacott compiles ‘Unlock Your Mind With Morning Glory’ for Two-Piers Records – A glorious heady mix of the weird and wonderful eclectic music from his radio show ‘Morning Glory’

“One weekday afternoon towards the end of 2017 I sat in The Lyric pub on Great Windmill Street, Soho with my dear friend Raf. I’d just finished another of my weekly Soho Radio shows and was starting to think about the next one. Raf had been on as a guest playing some of his favourite tunes of the day. We had a few drinks, told a few stories and started to plot and scheme. It was always a dream of mine to have a daily radio show. Radio had always informed and excited me from my early teens listening to John Peel under the blanket when I should’ve been either sleeping or revising right up to the present-day musical excursions of NTS, WFMU and numerous internet based stations.

We decided to speak to Adrian and Dan who ran Soho Radio to see if they’d be up for us doing a daily morning show. To our surprise they were into the idea and within 5 minutes Adrain came up with the name Morning Glory. We all liked it. We were all excited. It was all systems go. In December 2017 Raf and myself started a daily 2 hour show. We did the show together, got guests in and the musical policy was whatever we felt like that day. After several months Raf found the mornings too much. Off he went into the distance occasionally coming back with a smile, and a bag of new music. I carried on alone and then suddenly in March 2020 the world stopped, and we went into lockdown.

We set up in my house in Catford, Southeast London and carried on. The show became 3 hours a day and I started to invite friends, record labels, record shops, bands etc.. to supply me with hour long mixes that I played every day. The show took off during this time. My musical tastes expanded as I spent all day long searching for new sounds from around the globe. People started to send me more and more music. I became obsessed with the show. The audience started to take to social media and ask for certain tracks or artists to be played. I got listeners to make me mixes to play on the show and I did several phone interviews with musicians while playing some of their favourite tunes.

I was grateful that Soho Radio left me to my own devices. They never told me what to do or what to play – they trusted ma and I trusted my instincts.

The music on this compilation is not a ‘best of’ it’s just how I felt when I compiled it at the start of 2025. Apart from a couple of tracks they are all things I’ve come across since the show started in December 2017. If I did a list of tracks now I’m sure it would be completely different. Surely that’s the point. We never stick in one place. We are always moving and searching. Always trying to unlock our minds. Put it on. Take your time and let it take you somewhere” James Endeacott 2025

It’s Not That Deep captures Demi at her most radiant - reclaiming the carefree spirit of her early eras while unleashing 11 dance-pop anthems made for late nights & dancefloors. Executive produced by Zhone, the album pulses with confidence, freedom, and joy, led by the sleek single “Fast” and the infectious “Here All Night."