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Der britische Gitarrist/Produzent Phil Dawson lernte sein Handwerk bei Legenden wie Hugh Masekela, Tony Allen, Mulatu Astatke oder DJ Osibisa.

Auf "Don't Waste Your Ancestors' Time" kreiert er eine Fusion aus afro- und afro-brasilianischen Grooves, hochkarätiger Improvisation und Dub und wartet dabei mit etlichen Kollaborateuren auf, die die Musik in neue Richtungen treiben, darunter Spoken-Word-Künstlerin Khadijatou Doyneh (Heliocentrics), Saxophonist Tony Kofi (Abdullah Ibrahim, Jazz Jamaica, Cymande,), Pianist Sam Leak (Aquarium) und Afrobeat-Meister Dele Sosimi, der in Kontexten singt, in denen man ihn noch nie gehört hat. Der Albumtitel paraphrasiert den Romanautor Wole Soyinka in einer Bitte an alle, nicht wegzuwerfen, wofür ihre Vorfahren gekämpft haben – sei es durch die Missachtung des spirituellen Erbes, durch das Zulassen, dass wir gespalten und erobert werden, oder durch das Wegschauen gegenüber zeitgenössischen Ungerechtigkeiten.

The Gentle Spring are a new group, formed by Michael Hiscock, Emilie Guillaumot and Jérémie Orsel. Michael has an illustrious pop history, having been a founder member of The Field Mice, possibly the most beloved band on Sarah Records in the 1990s. And with The Gentle Spring, it seems that history is repeating itself…

When Michael and his friend Bobby Wratten formed The Field Mice, the two of them very quickly created a set of songs whose emotional honesty, raw guitars and perfect pop melodies pierced the hearts of a generation of indiepop fans, kids who were unmoved by the posturing of mainstream indie, and who didn’t want to spend time in fields dancing at 24-hour raves. The Field Mice were the band who defined the meaning and the spirit of Sarah Records. Defiantly in love with pop, defiantly un-macho, defiantly…sensitive. And now, remarkably, Michael has done it again. With his new musical partner Emilie, The Gentle Spring have created a fresh new iteration of indiepop music. Once again, the songs are unafraid of raw emotions, brutally honest and is still in love with big pop melodies.

They are still….sensitive. But life is seen through a different lens now. There is wisdom, there is experience, and there is the ability to look back at the world with a mixture of regret and joy. These are very adult songs, and the arrangements reflect this. Rich acoustic guitars and Emilie’s haunting keyboard have replaced hectic drum machines and urgent distortion. And there is a third element to this music. Jérémie Orsel’s sophisticated guitar adds textures and melodies that give these songs a real depth, while maintaining an enigmatic distance, never quite overwhelming the vocal line. So things are clearer now.

But feelings are just as strong. The pain of unrequited love that made Field Mice songs so poignant hasn’t gone away. In some ways, the thought of roads not taken is more profound when experienced in retrospect. I Can’t Have You As A Friend entertains this notion, still moved by the allure of a different life, but shuddering with fear at what might have happened. Also still haunted by the past, The Girl Who Ran Away conjures up the ghost of a previous failed relationship, which threatens to undermine happiness in the present. In Severed Hearts, sung by Emilie, there is the stark recognition that some endings really are final: sometimes there can be no reconciliations. But the song cleverly moves on from this: it acknowledges that, even after the worst emotional loss, you have to pick yourself, you will move on. It’s sophisticated and it’s mature – but it will still break your heart. Sugartown is another song that plays this trick on you. It insists that there will always be lightness and shade. It warns you against complacency, but does it so kindly that you feel like you’ve been embraced. When Michael’s and Emilie’s vocals combine in the final chorus, telling us that we don’t live in Sugartown, you know they are right – and yet the sweetness of the singing makes you feel that – just for a moment – you do.the band perform as a trio and have already found a keen audience in France, where they are based. During a short tour of the UK in January, to coincide with this release, British audiences will get their first opportunities to see The Gentle Spring play these new songs live

Co-produced by Guy Massey (Spiritualised, The Divine Comedy, Kylie) and Sophie Jamieson, I still want to share is an album exploring the push and pull, merry-go-round nature of anxious attachment and how it weaves, cuts and steals through familial and romantic relationships. Throughout the record is a perpetual longing to belong, a yearning to learn how to love and let go, and a continual missing of the mark. Each song clings tightly to the possibility of home, but never arrives there. The album was recorded in North London between Guy’s studio and Konk Studios, with string arrangements from Josephine Stephenson (Daughter, Ex:Re, Lisa Hannigan) and drums from Ed Riman (Hilang Child).

Tours (France) -based post-psych and deep-shoegaze powerhouse Stuffed Foxes are set to release their third LP, Standardized, on December 6th, 2024, via Bristol’s Stolen Body Records and French labels Reverse Tapes and Figures Libres. Songs / Revolving and Songs / Motion Return, a discographic diptych released in 2022, established Stuffed Foxes as accomplished ambassadors of the French rock scene. True to its predecessors, Standardized was recorded live in the Rennes studio of producer and musician Thomas Poli (Laetitia Sheriff, Dominique A). Mastering was entrusted to Matt Colton (Spiritualized, Swans, Shame). Early on, the six members transformed their youthful camaraderie into an adventure, embracing communal living (sharing a leaky roof had to be an integral part of the ride) and diving into the underground with their label, Reverse Tapes, a source of endless exciting music. They also adopted a democratic approach to creation fueled by endless jams, with the sexted striving to compose together from the outset. It is from this collective spontaneity that the unique expression of their music is born: long, hypnotic tracks, swirling mists of noise, and moments of vocal urgency that should be experienced in person during their invariably cathartic and incendiary concerts. It is a band that strives to stay true to its ethos, its soul haunted but never enthralled by the ghosts of its musical ancestors and battered icons. Their influences create joyful chaos: the musical walls of noise of My Bloody Valentine, the No-Wave drones of Swans, the psychedelic vapours of Brian Jonestown Massacre and the Post-Shoegaze eclecticism of Six-By-Seven. Standardized opens with Biting the Dawn, a Noise elegy that builds with relentless intensity. Léo's recitative voice soars above a searing blend of saturated guitars and echo-drenched drums. Next, Merry Xmas unleashes sharp, incisive guitar riffs reminiscent of Gang of Four and Fugazi, only to surprise with a dramatic twist that builds to a breathtaking, soaring climax echoing the brilliance of Ride’s most epic moments. Rough Up emerges as a Velvet Underground-inspired ballad, built on two simple acoustic guitar chords and an organ, showcasing a more subdued and vulnerable side of the band. In contrast, Standardized plunges into a powerful trance, unleashing a massive, deliciously primal wall of saturation with raw, unfiltered intensity. With Standardized, Stuffed Foxes appear to have reached an aesthetic milestone, transcending the semantics of the genres that once defined them. They have ‘de-standardized’ their sound and embraced a sense of freedom, opening up to the possibilities of a wider creative spectrum. Stuffed Foxes - Pretend to Be a Dog (Gamelle) (Official Video)

- 2025 Repress
- Black Bio vinyl
- Cut at 45RPM for optimum sound
- Printed on heavyweight board outer sleeve
- Vinyl comes in black poly-lined protective bag
- Housed in a heavyweight PVC protective outer sleeve
- Hype front sticker

Blue Lake's new offering 'Weft' sees its creator Jason Dungan unearth new musical terrain
with a mini-album which presents the projects evolution. Finding inspiration in the craft of weaving and embracing a collective spirit as a band leader, all while readying a new studio album expected later in 2025.

It follows the lauded album 'Sun Arcs' (2023) with Pitchfork naming it (Best New Music, 8.3), amongst numerous other accolades. Blue Lake is the ongoing musical project of American born, Copenhagen based musician Jason Dungan which serves as his artistic platform as composer and collaborator. Developed over the period of 2024 and witnessed at live performances across a swath of European cosmopolitan cities and festivals, the project stands at a new creative juncture. The earthy title track 'Weft' emerges with a sense of ease and familiarity as looping guitar riffs in open tunings bed in around a warm cello pulse that provides the essential heartbeat. These interlinking parts align to create his most explicit version yet of an American writing country music in Scandinavia. Dungan named the release 'Weft' as a reference to the weaving practice of his partner, Danish visual artist Maria Zahle, whose work "Torso" is featured on the album's cover. With her works providing a constant source of inspiration to his music and practice as an instrument-builder, Dungan found a symbiotic connection between their mediums, which is reflected in the music on 'Weft'.

'Weft' is a collection of new works that casts a net into new sound territories with distinctive timbres yet always channelled through the refined lens of Dungan's prism. Infused with an ongoing connection to nature, it furthermore expands his unique meld of off-kilter folk, jazz, country and left-field experimental ambience. 'Weft' then is an accomplishment of growth, of bolder objectives and of collaboration with like minds. The Blue Lake project takes a dynamic step forward venturing into new creative spaces while leaving some clues along the way.

Am 4. November erscheint eine limitierte Auflage von „Ghost In The Machine“ von The Police.
Dieses Album beinhaltet die alternative „Originale“- Tracklisting und -Reihenfolge die ursprünglich für die
Veröffentlichung ausgewählt, aber in letzter Minute geändert wurde. Zusätzlich enthält das Album drei
weitere Tracks, die nicht auf dem Album von 1981 enthalten sind.
Das Album ist als Picture Disc erhältlich.

Dentelles Records is proud to present its latest vinyl release!

We are excited to share the newest release from Greg All, the founder of Dentelles Records and the visionary behind the celebrated Les Dentelles Electroniques festival. This 2-track EP is a perfect reflection of his passion for music that unites people on the dance floor, offering two tracks that will resonate with house music lovers worldwide.

The first track, Last Night, delivers a powerful Tech House groove that will get you moving from the first beat. With its infectious rhythm and captivating vocal layers, this track is a true crowd-pleaser — full of energy and just the right amount of tension to keep the dance floor alive.

The second track, Tomorrow, shifts gears into the realm of Afro House, offering a rich, percussive journey complemented by an evocative vocal performance. It’s a track that speaks to both body and soul, with a driving energy that builds towards an emotional crescendo, sure to resonate deeply with listeners.

This EP marks another milestone for Dentelles Records, bringing together the unique sounds of Greg All with the infectious spirit of the festival. Whether you’re experiencing it live in the club or streaming it at home, Last Night and Tomorrow will transport you into the heart of the celebration.

Dentelles Records est fier de présenter sa dernière sortie vinyle !
Nous sommes ravis de vous présenter la toute nouvelle sortie de Greg All, fondateur de Dentelles Records et créateur du célèbre festival Les Dentelles Electroniques. Cet EP de deux titres est un parfait reflet de sa passion pour la musique, une musique qui rassemble les gens sur le dancefloor, et offre deux morceaux qui résonneront avec les amateurs de house à travers le monde.

For their final release of the year, The Trip release their sixth EP 'Spiritually Tessellate' on their in-house label Tessellate. 'Funky Q Nice' takes techno and tribal influences and adds them to a classic house vocal. 'Do You Feel', is an end of the night track which is as good for the club as it is for listening at home. On side B we have 'Delightful Funk', which takes an iconic diggers organ anthem and flips it on its head. Finally we have 'Original Sound', which sees the duo dig back to some of the UKG and tech house sounds that they explored last year. The EP launches on Friday 13th December.

Bluish Green was 15 + years in the making, passively percolating bi-coastly in the background of three family members' lives, waiting for the perfect opportunity to present itself. That moment came in January 2024 when Ball Sisters & N1_Sound settled into the Spiritual World home base of Studio Z in Toronto, Canada. What started as three casually blissful days, resulted in a debut album, combining a unique blend of dub, neo soul, ambient & downtempo. Bluish Green sits halfway between a low-key dance floor and late night back room.

The album was almost entirely created live in the studio with very little discussion, conversation or conscious direction. There were no goals or future plans, just mutual appreciation for the moment. Repeat takes were few and far between, with the group moving fluidly from one track to the next. This preservation of emotion and human touch is deeply embedded into the music, allowing the listener to share in the raw moments that were experienced while Bluish Green was organically taking shape.

Sonic themes of the natural world run throughout the five song, 30 minute album. “R U 4 Real” welcomes the listener into T3AL’s unique ecosystem with intimate cicade-esque shakers. A reverberous güiro frog (acquired on a family trip one year ago) and synthesized ocean waves create an ambient wetland on the album's 8 minute instrument track “Frog Legacy ''. Bluish Green comes to a shimmering close on “Flip That Switch” with dubbed out crystalline slide-flute melodies resembling ocean birds that fade into an iridescent horizon.

Digital drum patterns skip & stride around contemplative circular lyrical themes on four of the five album tracks, while spatial flute melodies simultaneously spin just under the surface. The bass guitar on Bluish Green is a continuous harmonic support system, repeating on a different tectonic rotation, much slower and deeper, offering familiar footing that stops the listener from drifting out in the rippling undertow of analogue delay feedback.

“R U 4 Real”?... A question that T3AL revisits frequently when thinking of the surreal weekend that resulted in the trio’s debut album, Bluish Green

Om Unit, SKRS INTL, Frankie Downbeat & N1_SOUND reimagine T3AL’s debut 12” with four new remixes ranging from casio digi, dubby street soul, dance floor euphoria & lofty exotica. T3AL’s debut offering, Bluish Green was released in May of 2024, selling out its initial limited edition 12” run almost immediately.

When It came time to explore what to do next, it just seemed logical to reach out to close friends and explore a companion remix record to release in tandem with a repress of the original 12”.

Each track on Bluish Green Remixes hones in with razor precision on the sounds and influences that T3AL blend together to create their unique soulful dub sound. Frankie Downbeat’s take on album opener ‘R U 4 Real” puts the digi back into dub with a crunchy Casio rework. N1_SOUND’s “Stretch Mix” cranks up the low end with a thumping Roland 808 beat. Om Unit’s “Weightless - Sunrise Dub” is deep dance floor crusher & SKRS INTL smooth it all out with a smoke filled lofty version of album closer “Flip That Switch”.

The end result is a 12” that covers a lot of ground while simultaneously remaining incredibly cohesive &
complementary to the original

Signed to Death Row Records by Snoop Dogg, the 2025 Grammy-nominated artist channels the spirit of Marvin Gaye in this deeply heartfelt tribute to one of music's most iconic voices. With The Rebirth of Marvin, October captures both Gaye’s timeless influence and his own unique artistry, creating a seamless fusion of the past and the present. The album’s lead single, "Back to Your Place," has already made waves, topping the Billboard Adult R&B Songs chart, while earning three nominations at the Soul Train Music Awards.

FEBRUARY 2023 MARKED THE ARRIVAL OF AN ALBUM THAT’S REDEFIFINING THE SOUND OF SOUL FOR A NEW GENERATION: OCTOBER LONDON’S THE REBIRTH OF MARVIN. SIGNED TO DEATH ROW RECORDS BY SNOOP DOGG, THE 2025 GRAMMY NOMINATED OCTOBER LONDON CHANNELS THE SPIRIT OF MARVIN GAYE IN THIS HOMAGE TO ONE OF MUSIC’S MOST SOULFUL VOICES, CAPTURING BOTH GAYE’S TIMELESS INFLFLUENCE AND LONDON’S OWN UNIQUE ARTISTRY.

REFLECTING ON THE PROJECT, OCTOBER LONDON SHARED, “DEAR MARVIN, I’M NOT TRYING TO BE YOU. THAT’S IMPOSSIBLE. YOU’RE ONE OF A KIND. I JUST WANT TO PAY HOMAGE TO YOU, BROTHA. YOU PAVED THE WAY FOR THIS SOUND, AND I’M JUST HERE TO MAKE SURE THEY DON’T FORGET.”

THE ALBUM’S LEAD SINGLE ‘BACK TO YOUR PLACE‘ HAS ALREADY TOPPED THE BILLBOARD ADULT R&B SONGS CHART, CAPTIVATING LISTENERS AND EARNING THREE SOUL TRAIN MUSIC AWARD NOMINATIONS. FROM HIS BEGINNINGS AS A RISING ARTIST UNDER SNOOP DOGG’S MENTORSHIP TO HIS PLACE AS A FORCE IN MODERN R&B, OCTOBER LONDON’S JOURNEY HAS LED TO THIS PIVOTAL MOMENT.
THE REBIRTH OF MARVIN IS BOTH A TRIBUTE AND AN EVOLUTION, A SOULFUL REMINDER OF THE LEGACY GAYE LEFT BEHIND - AND OF THE NEW PATHWAYS LONDON IS CREATING FOR IT TODAY.

Signed to Death Row Records by Snoop Dogg, the 2025 Grammy-nominated artist channels the spirit of Marvin Gaye in this deeply heartfelt tribute to one of music's most iconic voices. With The Rebirth of Marvin, October captures both Gaye’s timeless influence and his own unique artistry, creating a seamless fusion of the past and the present. The album’s lead single, "Back to Your Place," has already made waves, topping the Billboard Adult R&B Songs chart, while earning three nominations at the Soul Train Music Awards.

FEBRUARY 2023 MARKED THE ARRIVAL OF AN ALBUM THAT’S REDEFIFINING THE SOUND OF SOUL FOR A NEW GENERATION: OCTOBER LONDON’S THE REBIRTH OF MARVIN. SIGNED TO DEATH ROW RECORDS BY SNOOP DOGG, THE 2025 GRAMMY NOMINATED OCTOBER LONDON CHANNELS THE SPIRIT OF MARVIN GAYE IN THIS HOMAGE TO ONE OF MUSIC’S MOST SOULFUL VOICES, CAPTURING BOTH GAYE’S TIMELESS INFLFLUENCE AND LONDON’S OWN UNIQUE ARTISTRY.

REFLECTING ON THE PROJECT, OCTOBER LONDON SHARED, “DEAR MARVIN, I’M NOT TRYING TO BE YOU. THAT’S IMPOSSIBLE. YOU’RE ONE OF A KIND. I JUST WANT TO PAY HOMAGE TO YOU, BROTHA. YOU PAVED THE WAY FOR THIS SOUND, AND I’M JUST HERE TO MAKE SURE THEY DON’T FORGET.”

THE ALBUM’S LEAD SINGLE ‘BACK TO YOUR PLACE‘ HAS ALREADY TOPPED THE BILLBOARD ADULT R&B SONGS CHART, CAPTIVATING LISTENERS AND EARNING THREE SOUL TRAIN MUSIC AWARD NOMINATIONS. FROM HIS BEGINNINGS AS A RISING ARTIST UNDER SNOOP DOGG’S MENTORSHIP TO HIS PLACE AS A FORCE IN MODERN R&B, OCTOBER LONDON’S JOURNEY HAS LED TO THIS PIVOTAL MOMENT.
THE REBIRTH OF MARVIN IS BOTH A TRIBUTE AND AN EVOLUTION, A SOULFUL REMINDER OF THE LEGACY GAYE LEFT BEHIND - AND OF THE NEW PATHWAYS LONDON IS CREATING FOR IT TODAY.

Signed to Death Row Records by Snoop Dogg, the 2025 Grammy-nominated artist channels the spirit of Marvin Gaye in this deeply heartfelt tribute to one of music's most iconic voices. With The Rebirth of Marvin, October captures both Gaye’s timeless influence and his own unique artistry, creating a seamless fusion of the past and the present. The album’s lead single, "Back to Your Place," has already made waves, topping the Billboard Adult R&B Songs chart, while earning three nominations at the Soul Train Music Awards.

FEBRUARY 2023 MARKED THE ARRIVAL OF AN ALBUM THAT’S REDEFIFINING THE SOUND OF SOUL FOR A NEW GENERATION: OCTOBER LONDON’S THE REBIRTH OF MARVIN. SIGNED TO DEATH ROW RECORDS BY SNOOP DOGG, THE 2025 GRAMMY NOMINATED OCTOBER LONDON CHANNELS THE SPIRIT OF MARVIN GAYE IN THIS HOMAGE TO ONE OF MUSIC’S MOST SOULFUL VOICES, CAPTURING BOTH GAYE’S TIMELESS INFLFLUENCE AND LONDON’S OWN UNIQUE ARTISTRY.

REFLECTING ON THE PROJECT, OCTOBER LONDON SHARED, “DEAR MARVIN, I’M NOT TRYING TO BE YOU. THAT’S IMPOSSIBLE. YOU’RE ONE OF A KIND. I JUST WANT TO PAY HOMAGE TO YOU, BROTHA. YOU PAVED THE WAY FOR THIS SOUND, AND I’M JUST HERE TO MAKE SURE THEY DON’T FORGET.”

THE ALBUM’S LEAD SINGLE ‘BACK TO YOUR PLACE‘ HAS ALREADY TOPPED THE BILLBOARD ADULT R&B SONGS CHART, CAPTIVATING LISTENERS AND EARNING THREE SOUL TRAIN MUSIC AWARD NOMINATIONS. FROM HIS BEGINNINGS AS A RISING ARTIST UNDER SNOOP DOGG’S MENTORSHIP TO HIS PLACE AS A FORCE IN MODERN R&B, OCTOBER LONDON’S JOURNEY HAS LED TO THIS PIVOTAL MOMENT.
THE REBIRTH OF MARVIN IS BOTH A TRIBUTE AND AN EVOLUTION, A SOULFUL REMINDER OF THE LEGACY GAYE LEFT BEHIND - AND OF THE NEW PATHWAYS LONDON IS CREATING FOR IT TODAY.

Signed to Death Row Records by Snoop Dogg, the 2025 Grammy-nominated artist channels the spirit of Marvin Gaye in this deeply heartfelt tribute to one of music's most iconic voices. With The Rebirth of Marvin, October captures both Gaye’s timeless influence and his own unique artistry, creating a seamless fusion of the past and the present. The album’s lead single, "Back to Your Place," has already made waves, topping the Billboard Adult R&B Songs chart, while earning three nominations at the Soul Train Music Awards.

FEBRUARY 2023 MARKED THE ARRIVAL OF AN ALBUM THAT’S REDEFIFINING THE SOUND OF SOUL FOR A NEW GENERATION: OCTOBER LONDON’S THE REBIRTH OF MARVIN. SIGNED TO DEATH ROW RECORDS BY SNOOP DOGG, THE 2025 GRAMMY NOMINATED OCTOBER LONDON CHANNELS THE SPIRIT OF MARVIN GAYE IN THIS HOMAGE TO ONE OF MUSIC’S MOST SOULFUL VOICES, CAPTURING BOTH GAYE’S TIMELESS INFLFLUENCE AND LONDON’S OWN UNIQUE ARTISTRY.

REFLECTING ON THE PROJECT, OCTOBER LONDON SHARED, “DEAR MARVIN, I’M NOT TRYING TO BE YOU. THAT’S IMPOSSIBLE. YOU’RE ONE OF A KIND. I JUST WANT TO PAY HOMAGE TO YOU, BROTHA. YOU PAVED THE WAY FOR THIS SOUND, AND I’M JUST HERE TO MAKE SURE THEY DON’T FORGET.”

THE ALBUM’S LEAD SINGLE ‘BACK TO YOUR PLACE‘ HAS ALREADY TOPPED THE BILLBOARD ADULT R&B SONGS CHART, CAPTIVATING LISTENERS AND EARNING THREE SOUL TRAIN MUSIC AWARD NOMINATIONS. FROM HIS BEGINNINGS AS A RISING ARTIST UNDER SNOOP DOGG’S MENTORSHIP TO HIS PLACE AS A FORCE IN MODERN R&B, OCTOBER LONDON’S JOURNEY HAS LED TO THIS PIVOTAL MOMENT.
THE REBIRTH OF MARVIN IS BOTH A TRIBUTE AND AN EVOLUTION, A SOULFUL REMINDER OF THE LEGACY GAYE LEFT BEHIND - AND OF THE NEW PATHWAYS LONDON IS CREATING FOR IT TODAY.

"Wanted Dread & Alive" released in 1981 is now available on 1LP Yellow Recycled, is an album that underscores Peter Tosh's status as a reggae icon and a vocal critic of social injustices. The album's title reflects Tosh's rebellious spirit and his fight against systemic oppression. Tracks like "Coming in Hot" and "Rastafari Is" showcase his fiery lyricism and commitment to Rastafarian principles.

Over 19 tracks, Wayfaring Strangers: Cosmic American Music mines gold from dollar bin country-rock detritus to reconstruct events as seen from the genre's wild west - Americana's vast private press substructure. As progenitor and contemptuous poster boy for the music that came to be Cosmic American, Gram Parsons found himself mired in a recording career spent mostly in scouting the perimeters of chart success. "He hated country-rock," Parsons collaborator Emmylou Harris would later reflect. "He thought that bands like the Eagles were pretty much missing the point." Parsons had been orbiting the idea of Cosmic American Music for some time. In 1968 he'd parted ways with the Byrds and was looking to take air with a new project. "It's basically a Southern soul group playing country and gospel-oriented music with a steel guitar" he told Melody Maker, on the subject of The Flying Burrito Brothers. So it was that when A&M's Burrito Brothers debut The Gilded Palace of Sin made it to shelves in February of 1969, early adherents to the Cosmic American gospel were already echoing its message from areas flanking Gram Parsons' Southern California hills and canyons. There was F.J. McMahon in coastal Santa Barbara, Mistress Mary further inland in Hacienda Heights, and Plain Jane of Albuquerque, New Mexico, each responding by committing their own private readings to tape before day one of the 1970s. Parsons himself might've disdained them, had he even been aware of such minor ripples, shimmering at the edges of his desert oasis. But these were true believers all the same, given over fully to his roots music concept, each filling vinyl grooves with non-rock instrumentation like fiddle, banjo, and pedal steel guitar, the last undoubtedly Cosmic American Music's most distinguishing stringed signifier. Only too predictably, big labels did the grunt work of confining and defining the movement, as ABC, United Artists, RCA, and more played catch-up with Asylum's raptor rock juggernaut, via backwoods crossover also-rans with names like Gladstone, American Flyer, and Silverado. Twang reigned, the shitkickers kicked shit, and the vaguely western-sounding guitar records piled up. Country-rock became "the dominant American rock style of the 1970s," as Peter Doggett's comprehensive Are You Ready for the Country put it much later. Wayfaring Strangers: Cosmic American Music picks up and dusts off golden ingots from the dollar-bin detritus of that domination, to reconstruct events as seen from the genre's real Wild West-America's one-off private press label substructure.

Die LP-Vinyl Edition des Erfolgsalbum aus dem Jahre 2016, mit bedruckter Innenhülle inklusive der Lyriks, ist wieder lieferbar!

"2 + 0 + 1 + 6 = 9. 2016 ist das Jahr der 9. Die Frau, die den Jazz in den Reggae gebracht hat, kommt auf ihrem selbstproduzierten zweiten, folgerichtig "9" betitelten Album mit einer Runderneuerung von Roots-Reggae um die Ecke. Auf neun Songs lotet sie die musikalischen Grenzen des Genres aus und erweitert das inhaltliche Spektrum um alte, aber selten ausformulierte Erkenntnisse, in denen sich spirituelle und materielle Einsichten zu revolutionären Calls to Action kondensieren." - Riddim Magazin

"We are delighted to be able to bring you these gorgeous field recordings from the Sumedang Province of West Java which, over their 50 minutes, present two distinct sides of Sundanese musical and devotional culture.

Although West Java is a Muslim country, these recordings highlight currents of pre-Islamic animist beliefs and practices that continue to flourish in the small towns and villages of the highlands of West Java. The recordings showcase two forms of trance music that are essential to the spiritual life of the Sundanese people in the highland regions.

Tarawangsa trance music is a traditional ceremonial genre known for its deep spiritual and hypnotic qualities. This music is made using only two instruments, the tarawangsa, a two-stringed fiddle, accompanied by the jentreng, a seven-stringed zither, creating a unique blend of resonant, droning sounds. Historically, tarawangsa music has been performed as part of sacred rituals and agricultural celebrations to honor local deities and ancestors, particularly associated with the Sunda culture. The minimalist, repetitive melodies gradually build, guiding participants and listeners into a meditative, trance-like state, during which dancers can be possessed by the spirits of ancestors or deities from the spirit realm, the music serving as a link between the two worlds.

In stark contrast to the calm, medititive sound of tarawangsa, we also present here two long pieces from Panca Buana Reak Group. Sundanese Reak trance music is like the punk rock of Sunda folk music, combining powerful and driving rhythms played on a number of hand drums and percussion instruments with the buzzing sound of the tarompet, a double reed wind instrument often amplified through whatever mobile speaker system might be at hand. Sometimes the group will play gamelan gongs, as heard on the first piece on the album, although this remains a music that is popular mainly with the working class youth of the rural villages, many of whom will also be fans of Indonesia's burgeoning metal and punk scenes. Reak performances are often wild, anarchic events that feature masked dancers, costumes, public trancing and spirit possession.

These recordings were made by Xenia At during her travels through West Java earlier this year. The tarawangsa recordings were made in a home in the village of Rancakalong on the evening of 17th January 2024, while Panca Buana Reak Group were recorded during rehersals in the village of Cinunuk on 19th and 20th January 2024."

Limited edition of 100 copies.

The musicians:
Overture (played by Panca Buana Reak Group, musicians: Rian Hidayat, Daffa, Rendi, Haswa, Doni, Aconk, Bayu, Zidan, Iwan Uwak, ⁠Mahadewa Sehu, ⁠Bebet, Adi, Bebet).
Reundeu - Master Yayat (kacapi), Tedi Kurniadi (tarawangsa).
Degung - Master Yayat (kacapi), Teguh Permana (tarawangsa).
Pamapag__Gelar Mataram__Panimang__Limbangan - Akbar Nendi (kacapi) & Tedi Kurniadi (tarawangsa).
Reak Lugay Pusaka Pajajaran (played by Panca Buana Reak Group, musicians: Aconk (tong), Rendi (brung), Hendrik (tarompet), Ade (kecrek), Riki (bedug), Doni (talingtit), Adi (badublag).

Xenia would like to extend gratitude to:
Master Yayat, Tedi Kurniadi, Akbar Nendi, and Teguh Permana for their incredible talent that turned this recording into a magical experience.
Ibrahim Adi Surya for technical support.
The Juarta Putra and Panca Buana Reak groups for explaining the cultural significance of local traditions.
Anggun Tresnasari for sharing her deep knowledge of regional music traditions.
Igor Moskalenko, Kate Snap, Stasya Frolova, Roman Gold, Misha Maltsev, Ilona Popychko, Galih Muhammad, Wildan Wiliansyah, Rizalu Ramadhan, Rahi Rahmat, Fahmi Solihin and Muhammad Ismael whose unwavering belief made this project possible.

Hive Mind would like to thank Luigi Monteanni (Artetetra) and Palmer Keen (Aural Archipelago) for their invaluable work and research in this region.

“My introduction to “noise” came from a record shop in Lake Worth, Florida ran by a musician named Kenny 5. Kenny had left Detroit sometime in the mid nineties and had begun selling used records and CD’s from the downtown strip of this tiny southern Florida city in a humble shop sandwiched between a deli and a dog grooming business. Kenny previously was on labels like Amphetamine Reptile and timeSTEREO, and the records and videotapes that would be on repeat at his shop were a vast sonic expanse that spoke to the eclecticism of his experience as a touring musician participating and adjacent to American noise culture through the early to late 90’s. In 1998, I was eleven years old and I would order a pizza with him and watch VHS tapes of Japanese noise and deathmatch bootlegs, as well as any other sonic and subcultural rarities that far outstripped my age to comprehend (notably the RRR “Journey Into Pain” compilation and various Vanilla Tapes videos). This widecast net of information formed an introduction to a reality that did not fall deaf on me, but it took many years later for me to reorient the specific freedoms of what this dense and cathartic sound culture had imparted on my life and would continue onward to.

What does this have to do with this selection of choice recordings from the Secret Boyfriend catalog for the enmossed label? For the uninitiated, Secret Boyfriend is the long running moniker of Ryan Martin, North Carolina musician and label proprietor of the Hot Releases imprint. For over a decade from this writing I have watched Secret Boyfriend, and Hot Releases by extension as a curatorial and archival effort, embodying the multiplanal capacity that noise loosely functions from as an umbrella ideology and formalist avenue for sound creation. For anecdotal purposes, from (before) 2006 until roughly 2023 the East Coast of the United States showcased a vibrant network of eclectic regional festivals that saw wide swaths of artists addressing and negotiating the notion of what qualified “noise” from a conceptual and ideological perspective. Some festivals honed in on particularities in aesthetics and tropes, and others had a kind of “catch-all” implementation that allowed for a salvation of the sort of alienated and singular artistry that was amassing throughout these territories. While clear guidelines had been set from regional predecessors as to how noise with a capital “N” should maneuver, Secret Boyfriend is emblematic in the spirit of fluidity that was either implicitly coupled to the notion of the genre, or grew to evolve towards or devolve from.

Within Secret Boyfriend performances, I have seen and admired a mirroring from a ravenous appreciator of this culture at large back towards itself. Typical of a Secret Boyfriend set is an interchangeable narrative arc wherein blistering feedback laden scrap metal improvisations are forayed into naive ambient or “pop” songs, or skipping CDs, or mixer feedback play, or delayed Roland 707 drum workouts all at once and in a unique hegemony. Secret Boyfriend's stylistic mastery of each endeavor is at once an homage to a history of loving listening and enacting, while a brave step into the realm of actualizing the unique fluidity of his own practice. In performance and the action of network engagement, Secret Boyfriend operates a survey of that which he sought to hear and that which he cultivates around his work. His operations are mirrors, and the project (alongside his other peers) is a reflection on the ethos of his time.

Conversely his recording practice narrows in on these moments and allows for a different kind of intimacy or alienation for the non live listener. This record of selected “pop songs” (let's call them that) is particularly poignant at a time when the culture Martin mirrors is at a strange crossroads with itself. The aforementioned festival networks necessarily change and shift. The onlookers become the artists, the artists find new horizons, and the spaces for these cycles fade into locales of a distant memory. It seems, from my perspective, that audiences currently yearn for a more bottlenecked experience, searching for some ontologically vetted manifestation of an idea, of a sound and less for an experience that functions in opposition to our collective banalities. This makes sense in the face of general global catastrophism that plagues us. We need certainty of what something is somewhere, don’t we? Noise as an idea has expanded and contracted to so many iterations of itself it is hard to tell what it even is, and it is particularly difficult to identify in the absence of solid network activations a moment to reflect on its own complexities and nuances. In the face of so much change, I argue that the language of noise culture at large has on one hand become increasingly didactic and predictable, and laughably inclusive and non linear on the other. Probably has always been this way, but now we are in the midst of a moment of extreme access and indexicality, which somehow cauterizes expansion and naivety and chance.

This record highlights the Secret Boyfriend that obscures didacticism by highlighting output that opens up for more challenging catharsis and emotive signal processing. It provides an entry to the materialism of a cultural field full of ecstatic complexity and beautiful inconsistency. In these muted moments Secret Boyfriend has given us over his career we have an argument for evolving languages that further challenge our notions of what is supposed to happen and how it is supposed to be presented. In his more song oriented expansiveness, we can punctuate the ability to think in new modalities. Listening to these recordings reminds me of the polarity of sitting in the record store as a kid and understanding that His Name Is Alive is on 4AD and (gasp!) timeSTEREO. This trite early impression that nothing is really as different as our imaginations might want them to be, and that we can do whatever we want mostly within the creative realms we work through is an important filter to look through Secret Boyfriend as a project and a vessel. If we can achieve abandon and vulnerability through our artistic endeavors, then we have a sound model for, maybe, new potentialities. If that’s too much projection, or just complete liberal bullshit, I am fine with that. Secret Boyfriend's oeuvre at best offers us moments of reprieve to ponder these complexities, or at least a moment to zone out on a drive through North Carolina Highway 54.

You have one pocket of life that you must do whatever you want to inside of. Secret Boyfriend does it affectionately, in a variety of forms, and always with deep sentimentality. These recordings are a wonderful set of songs to begin further investigation from. Thank you Ryan for allowing as many avenues as possible to continue a broad cultural exchange and conversation that intersect and refract while being the kind of artist that is brave enough to not phone in the effort.”

- Nick Klein , May 2024

Jack Adkins, the creative force behind the moniker Jamin’ Jack, has a multifaceted musical journey that began in the mid-'60s in Cincinnati. Initially cutting his musical teeth in garage bands like the Coachmen, Adkins would later embark on a decade-long journey as Jamin’ Jack, the One Man Band, from 1983 to 1993. A pivotal moment unfolded in the early '80s when, at the age of 36, Adkins walked into London Music studio in Tampa to record his debut LP, 'American Sunset.' This album, distinguished by its evocative portrayal of the West's decline, emerged as a defining piece in Adkins's musical repertoire. Its sonic landscape, characterized by guitars and drum machines, resonates with a familiar and poignant atmosphere. The subsequent decade witnessed Adkins assuming the persona of Jamin’ Jack, the One Man Band, embarking on an extensive ten-year tour. Adapting to a corporate presentation style, he not only refined his musical craft but also mastered the art of bantering and entertaining, overcoming his initial shyness. During this nomadic period, Adkins carried the master tapes of 'American Sunset' with him on the road. In a poetic expression of his transient lifestyle, he pressed LPs and tapes in Houston, selling them directly at various venues. The album, at its zenith, serves as a sonic backdrop to the lonesome and transient life on the road, encapsulating the essence of a nation seemingly heading into the sunset. 'American Sunset' stands as a must-listen for enthusiasts of Trans-era Neil Young and the dystopian vibes reminiscent of Repo Man, offering a captivating musical narrative that echoes the spirit of its time. Neofolk electronica? we're not sure, but its just amazing! Only 500 units of this 'sunset' coloured vinyl will ever exist. You waited 40 years for this anniversary meeting, so don't blow it, buy it!

Model 500's "Deep Space," released in 1995, is a landmark album in electronic and techno music, crafted by Detroit pioneer Juan Atkins. This work seamlessly combines atmospheric textures with pulsating beats, reflecting the innovative spirit of the Detroit techno scene. With tracks like "The Chase" and "No UFOs," "Deep Space" captivates listeners through its hypnotic melodies and complex rhythms, creating an immersive experience that feels both expansive and futuristic. The album is revered for its groundbreaking sound and continues to inspire artists and fans alike in the electronic music landscape. This new pressing has been carefully remastered and re-cut from original sources to achieve The best sonic experience possible.

Post-Nuclear Mind Music? Lizard Strategies? Void Spirit...? These bizarre titles are just a few of the self-coined terms that Australian electronic musician Ian MacFarlane has conjured to represent his eccentric sonic world. An artist whose unique style of electronic experimentalism has balanced dangerously close to the edge of popular convention, existing outside the mainstream and extending well beyond the fringe of any sanctioned independent scene. A futurist outsider whose extraordinary musical vision has explored the uncharted realms of consciousness and fantasy. Following a brief stint with the legendary Australian Krautrockers Cybotron, MacFarlane produced three independent solo albums throughout the late 1970s and early 1980s. His debut LP Void Spirit, an experimental album issued under the pen name 'Violet Lightning', was followed by a further two albums published under his own name, the cosmic influenced Back From Beyond and finally the privately issued electro-ambient suite Planetarium. Presented with hours of unreleased home recordings, The Roundtable has begun a dedicated search through the fascinating archives of this under exposed artist. Beginning with a vinyl release of the rare cassette-only album Planetarium; this private press sees MacFarlane armed with a bank of Roland Synthesizers, Drum Machines and field recordings, spawning a mutant amalgam of German Kosmische Musik, French Library electro and Private Issue New Age. Surrender to the stars and welcome to the first instalment of "Muzak To Moralize By".

Side A comes Revision ! Long time no see... With a first tune in its lyrical domain, playing with melodies and tempos... Restless creative tune... Second one is a more Banger, regular Speedcore bumper.

The flip by the label manager, Armaguet Nad is a 2-in-1 shampoo^^ The first part of the tune is a kicker reward, while the second part brings a bBeakbeat attitude, kind of a long drop, finishing 4/4 Soeedcore too... But it's only one tune we present here in 2 differents parts because really.. it looks like a possibmle 2 tunes way :)

'It was such an honor to play on Dwight Trible's album.

His singing has inspired me since I was 15 years old. He has a way of bringing such a unique life and feel to every song that he sings.

His voice has power, soul, and beauty, qualities that all us horn players strive for.

Thank you Dwight for having me on this masterful piece of art'

Kamasi Washington (early 2019)

The godfather of the LA sound, and possibly the World's greatest living Jazz Vocalist, returns with his masterpiece.

Timeless, yet made for our times - this is a double album of spiritual jazz, soul, gospel, and psychedelic rock.

Recorded at LA's Sunset Sound, and backed by a band of legendary musicians (including Kamasi Washington), this is a
work of true beauty. A tour de force that reveals Dwight's kinship with Spiritualism.

Musicians:

Dwight Trible vocals
Kamasi Washington tenor sax
Mark de Clive-Lowe piano
John B. Williams double bass
Ramses Rodriguez drums
Maia harp
Miguel Atwood Ferguson viola
Derf Reklaw percussion
Carlos Nino hand percussion

Repress!

Compilation of 80s Turkish-Swiss band Café Türk, featuring selected works from their discography as well as previously unreleased recordings!

Café Türk's unrestrained sonic palette explores new wave, psych, disco and reggae with influences from Anatolia and Azerbaijan.2xLP includes a 4-page booklet with extensive liner notes and photos.

Café Türk are an inimitable Turkish-Swiss band formed in the 1980s, whose genre-bending sonic palette draws from Anatolia, the Caucasus and Western Europe. The group’s frantic trajectory connects Switzerland and the Turkish city of Kars with a background story as rich and unexpected as their sound. After three decades since they disbanded, Zel Zele Records have collaborated with Turkish crate-digger Grup Ses to give the music of Café Türk a new lease of life. This eponym compilation features original album tracks, singles and previously unreleased takes that trace the outline of the group’s history. From the rolling disco of the group’s debut recording “Haydi Yallah”; to the previously unreleased kosmiche of “Yıldızlar”, “Ali Baba From Istanbul”s Azeri grooves and German language vocals, to the psyched-out interpretation of Causaccian folk tune “Şamil”, Café Türk showcases the endless stream of ideas the band had during their time together between 1983 and 1989. Tracks come with an unrestrained spirit, weaving in the crackling energy of new wave, rock, disco and reggae with influences from Turkey and Azerbaijan.

This fascination in pulling different worlds together goes right back to the formative days of Metin Demiral, founder of Café Türk. Metin grew up in Kars, a provincial town in the Northeastern part of Turkey. Kars was once known for its multicultural communities; where you could hear locals speaking a range of languages, from Turkish to Azeri, Russian and Kurdish. In 1983 Café Türk won a contest set for Turkish groups based in Europe, organised by the label Türküola, home to Turkish stars like Cem Karaca, Selda Bağcan and Barış Manço. The resultant recording sessions gave birth to his new band and debut LP, Pizza Funghi. But Metin turned down Türküola’s offer to put the record out and instead self-pressed 1000 copies on his own Sound Concept label - driving as far as Berlin to sell them face-to-face to record shops. The record was picked up by a member of the German city of Nuremburg’s Cultural Department and soon Café Türk were invited to play for the local workers’ unions, many of whom represented immigrants from Turkey. These events only grew in popularity, the group ultimately spending five years touring similar shows in Europe, alongside more conventional tours and festivals. Metin had hoped to bring his new record to audiences in Turkey again, however, he found it impossible to get any of his songs played on state-sponsored radio, something he attributed to the infamously strict supervisory board of TRT, Turkey’s state-funded broadcaster. TRT tended to not accept songs that blended both western and traditional Turkish music in order to avoid “degenerating” Turkish folk music. Cafe Türk tried to fight this conservative mindset, but progressively resigned themselves to the political restrictions of the time

A longtime banner carrier for fiercely independent DIY punk in the UK, Wonk Unit are teaming with Pirates Press Records to release their ninth studio LP, Good Good Glad To Hear It. Based in the South London town of Croydon, the band has its origins in lead singer, songwriter, & guitarist Alex Wonk's experience in rehab 25 years ago, where he found journaling & sharing his experience with others liberating. After completing his time in hospital, Alex set about crafting songs from his "addiction journals," and from this sharing of unvarnished honesty, Wonk Unit was born. The 12 songs on Good Good Glad To Hear It are the diverse fruits of a long term process of songwriting and collaboration that takes the listener on an emotional journey. "These songs need to be written. They all had, for whatever reason, a burning desire to be released from my head," says Alex, who estimates that more than half of the vocals, guitars, and keys on the finished product were recorded as voice notes using nothing more than his cell phone mic. Aside from "EQ magic" courtesy of long term engineer & co-producer Andy Brook, there is no studio trickery to hide behind, and what appears on the record are the raw takes as played by Alex and his bandmates Vez, Max, Pwosion, Ryan, and AJ, as well as a group of studio collaborators adding instrumentation such as keys, horns, and banjo.The confessional spirit & emotional honesty of the songwriting shines through in every song on the record, such as the opening track & lead single, a "sad, depressing song about addiction" titled "Rapidly Declining Dignity," which recalls Alex's journals, or the song "Overwhelmed," in which the songwriter turns his focus to his relationship with his daughter in the aftermath of his marriage falling apart. "Those were the saddest, most precious, painful, terrifying times of my life," he shares, before adding, "Things are good now." Ultimately, these songs could only be written by someone who survived to tell the story. Just as journaling and sharing with others in rehab helped Alex to get sober and see a way through to the next stage of life, sharing songs that speak the truth of his experiences with the band's audience continues to carry him through life's ongoing struggles. Consequently, the band has attracted a large and diverse group of devoted fans who immediately recognize that these are true stories of resilience that can serve as a touchstone in their own lives. The true stories on Good Good Glad To Hear It are certain to find their way to even more.

Carefully curated city pop and funk from Japan’s golden era. Junko Yagami’s ‘Bay City’ kicks off Volume 2, a standout track from her 1984 album Communication, captures the essence of 1980s Japanese city pop with a distinct California flair. Next up we have Yurie Kokubu’s ‘It’s Just a Joke’, released in the mid-1980s during the peak of Japan's city pop era, this track encapsulates the carefree spirit of the genre.

Die Edition Paul als Gruß an LKM-Bassist Stephan Paul, der gerade noch pausieren muss: Klares Vinyl gebundlet mit Slipmat & Poster, limitiert auf 48 Stück! Das aktuelle 2023er (Comeback)-Album von LOIKAEMIE mit Namen "Menschen"! 2022 erschienen mit "Lumpenmann" und "Tief im Herzen" die ersten neuen LKM-Songs seit 2007 (digital und als limitierte 7"-Single), dazu gesellenen sich noch "Was Soll Die Ganze Scheisse?" und "Lasst Uns rein", alles Vorboten des fünften Studioalbums "Menschen" und schon auf einer Menge Playlists zuhause. Kein Wunder, dass nach 16 Jahren die Erwartungen riesig sind, bei den Fans wie der Band selbst. Und ,Menschen" ist nicht weniger als ein Manifest dessen, wie Punkrock im Jahr 2023 klingen muss: Rotzig und melodisch, kompromisslos und reflektiert, politisch und gut gelaunt. Alle zwölf Ohrenfräsen atmen den unverkennbaren LOIKAEMIE-Spirit und doch ist ,Menschen" ein Riesenschritt nach vorn. Schon der überaus modern klingende Opener "Wenn wir alle so wären" fegt alles weg, was derzeit belanglos auf Allgemeinplätzen durch den Punk pogt, vom anschließenden hymnischen Titeltrack bis zur abschließenden Selbsteinladung "Lasst und rein" bleibt die Energie ganz oben, gleichzeitig ist das Album vielschichtig wie nie zuvor in der Bandgeschichte. Zu Streetpunk- und Rock'n'Roll-Brettern gesellt sich Reggea, Sprechgesang, Ballade und Melodien, die sich auch im Pop nicht verstecken müssten. Statt markiger Statements erzählen die Texte pointierte Geschichten, teilen durchdachte Gedanken zu aktuellen Miseren in der Welt, der Szene oder des eigenen Kopfes. Aber es gibt auch keine Scheu vorm hymnischen Refrain, den fortan volle Konzertsäle gemeinsam intonieren können. Oi!, was sind das knallende Hits!

Album was made in two version (with two different covers). Classic black vinyl and limited (hand numbered 100 copies) with color vinyl. Both versions has 180g vinyl records.

Himalaya Collective is probably the biggest crew of beatmakers in Poland (more than 30 official members). Collaborations are the theme of this third album for U Know Me Records, resulting in a multi-genre album that showcases Himalaya Collective's strength in all its glory.

"After two years since "Latawce", we are back with our third vinyl album released by U Know Me Records. We have been working on a unique, fully collaborative project for over a year. Each track is a result of cooperation - without restrictions on the choice of artists and collaborators.

The idea was simple: each member of the collective was to enrich their track with the vision of another person. They could be producers, vocalists, instrumentalists - both from within the collective and from further corners of the world. This is how a network of artistic connections was created, which reflects the way in which Himalaya Collective has been growing since 2016 - as a team united by passion, inspiring each other and involving other exceptional people in cooperation.

Thank you for your patience, see you again."

Album was made in two version (with two different covers). Classic black vinyl and limited (hand numbered 100 copies) with color vinyl. Both versions has 180g vinyl records.

Himalaya Collective is probably the biggest crew of beatmakers in Poland (more than 30 official members). Collaborations are the theme of this third album for U Know Me Records, resulting in a multi-genre album that showcases Himalaya Collective's strength in all its glory.

"After two years since "Latawce", we are back with our third vinyl album released by U Know Me Records. We have been working on a unique, fully collaborative project for over a year. Each track is a result of cooperation - without restrictions on the choice of artists and collaborators.

The idea was simple: each member of the collective was to enrich their track with the vision of another person. They could be producers, vocalists, instrumentalists - both from within the collective and from further corners of the world. This is how a network of artistic connections was created, which reflects the way in which Himalaya Collective has been growing since 2016 - as a team united by passion, inspiring each other and involving other exceptional people in cooperation.

Thank you for your patience, see you again."

For the first time on vinyl, a great Australian High Energy classic from Brother Brick, led by Stew Cunningham, one of the best guitarists to emerge from the antipodes. On the same level as other classics such as Bored!, Asteroid B612, New Christs... A gem of OZ rock. Attention all rock enthusiasts and vinyl collectors! The wait is finally over. For the first time ever, Brother Brick's legendary 1997 album A Portable Altamont is being released on vinyl, fully remastered to capture the raw power and energy that defined their high-octane sound. This release showcases the band's gritty fusion of blistering guitar riffs, pounding rhythms, and unforgettable melodies--reminiscent of Detroit's finest like The Stooges and MC5, but with that unmistakable Aussie edge. Led by the iconic Stewart Cunningham, known for his work with other influential projects like Proton Energy Pills, Leadfinger, Asteroid B612, and The Yes-Men, Brother Brick carved out their own space in the '90s Australian rock scene. A Portable Altamont is a testament to their uncompromising spirit, packed with all the attitude and authenticity that made them a standout in the Sydney underground. Originally only available on CD, A Portable Altamont is a high-energy masterpiece of Australian rock, packed with blistering guitars and melodies that have been screaming to be heard on the rich, warm tones of vinyl. This remastered edition brings new life to tracks that defined a generation of raw, unapologetic rock. If you're a fan of loud guitars, powerful melodies, and pure rock 'n' roll attitude, this is the vinyl you've been waiting for. Don't miss your chance to own a piece of rock history--A Portable Altamont is now available in a limited edition vinyl pressing! TRACKLIST SIDE A A1 The Same A2 Chip On My Shoulder A3 Beyond My Hands A4 Chokito Bar A5 Derelict Eyes A6 No Turning Back SIDE B B1 Rock'n'Roll Marie B2 Feel Strung Out B3 Drives Me wild B4 Help Yourself B5 We're Not Like You B6 Rock Action

The Last Wave (also known as Black Rain in the US) was the final chapter in a trilogy of films scripted and directed by the leading auteur of the Australian New Wave, Peter Weir. Beginning in 1974 with the absurdist black comedy-horror The Cars That Ate Paris, and followed a year later by the lush gothic mystery Picnic At Hanging Rock, The Last Wave was a landmark in existential horror. Sitting alongside other Australian eco-terror films (e.g. Long Weekend) the film featured a haunting electronic soundtrack that is as mysterious and beguiling as the spiritual themes of the film itself. With no LP issued after the films premiere in 1977, and together with the mystery surrounding the true identity of its enigmatic composer 'Charles Wain', the score is a largely unheard recording of pioneering experimental film electronics, easily compared to the music that contemporaries Klaus Schulze and Tangerine Dream were composing for Australian films during the same period or the electronic soundtracks of John Carpenter. Tense atonal electronics, synthesizer drones and manipulated Didjeridu all perfectly capture the film's ominous atmosphere, punctuating the slow hypnotic pace of this brooding supernatural thriller.

Scala Muziek presents its second vinyl EP, Next Horizon, building on the success of the debut release. After a remarkable year of music and events, this EP embodies the spirit of exploration that defines Scala. Produced by label head Pascal Benjamin, the four tracks blend hypnotic grooves with forward-thinking soundscapes—each crafted to leave a lasting impression.

A1: Personallity opens the EP with minimalist, richly textured rhythms. Its bouncy, infectious groove and subtle shifts in bass and melody create a dynamic flow, making it perfect for both dancefloor energy and introspective moments. Pascal’s attention to detail shines through, balancing personal and expansive sounds. A2: Progress delves deeper into rolling rhythms and uplifting sonic layers, with ethereal synths floating above a driving beat. The track unfolds gradually, building momentum with a continuous, evolving motion. B1: On the flip: Shifting Grounds brings a sense of exploration, with gurgling synths and subtle modulations creating a cerebral yet physical experience. It's an atmospheric, groove-laden track perfect for late-night sessions. B2: Far From Clear closes the EP with a moody, introspective energy. Eerie vocal snippets and sharp minimalism weave together to create a haunting, mysterious atmosphere, rounding off the release with a deep dive into uncharted sonic territory. With Next Horizon, Scala Muziek offers a refined selection that showcases Pascal’s artistic growth and the label’s commitment to immersive, forward-thinking music.

Belgian producer Uit de Hoogte returns to his own label LANK with ‘Polos’ EP, celebrating the mesmerizing art of looping in all its splendor. This release fuses loopy vocal chops, intricate chord progressions, and percussion hits, creating a collection of trance-inducing killers for the dancefloor.

The EP opens with “Pink Polo,” a hard-hitting house anthem that layers wonky chord progressions, super-saw synths, and a vocal acapella from Ye, crafting a high-energy peak time banger.

The second track, "Lazy 8" (stylized as ∞), mellows things out with a hypnotic female vocal loop of the word "octa," repeated into infinity. Driven by a relentless drum machine and a warm, woolly bassline, this track draws dancers into a deep, driving euphoria.

Side B kicks off with "Loops of XTc," a track built entirely from samples salvaged from a 90s sample CD discovered in a local thrift store. With a clever twist on cheap, nostalgic loops, Uit de Hoogte reshapes these elements into a deep, dub-infused house gem that revives the spirit of the 90s club scene.

Closing the EP is “Frida,” a dreamy house piece that brings a sense of droney introspection to the dancefloor. Gradually, the gentle hum of a Yamaha DX7 leads into a meditative Portuguese vocal, lifting the track to ethereal heights.

Made with love & hardware gear only!

Recorded in the 1980's and snapped up upon arrival in Europe by the Soho Boho's, Acid Jazzuals,Cuboppers, Jazz Massivists and Mojo Jazzmuziker, "Le-Le" by The Arpeggio Jazz Ensemble is a unique one off Spiritual Soul-Jazz outing with Avant Garde touches and more than a hint of Afro-Cuban Orientalism.

The percussion drenched title track has that special Worldwide Sound and the Cool Jazz Get Down Groove of "Wet Walnuts and Whipped Cream" is a DJ's delight, whether played over the Airwaves or to a crowded Dancefloor.

An adventurous jazz outfit that has been playing around Philadelphia since its formation in 1979. The Ensemble was founded by Warren Oree, an acoustic bassist, producer and composer who continues to lead the band. Eclectic and far from predictable, on this album the Ensemble has embraced a variety of acoustic and electric jazz styles combining them with African and Middle Eastern influences and mixed together with the "New Thing" have managed to make a timeless underground classic.

Big Crown Records ist stolz darauf, das Debütalbum von Dave Guy zu präsentieren. Nachdem er seine Talente sowohl auf der Bühne als auch im Studio für Künstler*innen wie Amy Winehouse, Lizzo, Pharrell und Sharon Jones zur Verfügung gestellt hat und derzeit als Mitglied von The Roots jeden Abend in der Tonight Show auftritt, macht sich Dave Guy mit einem sowohl einzigartigen als auch modernen Jazz-Album selbstständig.

"Ruby" mischt seine musikalischen Einflüsse mit der Energie der Stadt, in der er aufgewachsen ist, fängt verschiedene Stimmungen ein und lädt den Hörer in die Welt ein, wie Dave Guy sie sieht und fühlt. Aufgenommen in Queens in der legendären Diamond Mine, wurde das Album von Homer Steinweiss und Nick Movshon produziert und enthält musikalische Beiträge von Leon Michels, Marco Benevento, Claire Cottrill und anderen. "Ruby" reiht sich sofort in die Riege der Klassiker ein, denn es ist ein vollendetes Album und nicht nur eine Ansammlung von Songs. Die Leadsingle "7th Heaven" eröffnet das Album mit einer hymnischen Energie, in der Daves Bläsersätze über donnernden Drums, ätherischem Gesang und tanzendem Klavier schweben. Footwork" ist eine lateinamerikanisch inspirierte Nummer, die mit Sicherheit den Soundtrack zu vielen Tanzveranstaltungen von SoHo bis Harlem liefern wird. Das Synthie-Intro von "Pinky Ring" bereitet den Stimmungswechsel vor, wenn der Track losgeht. Tiefe Basstöne unterstreichen das tadellose Schlagzeugspiel und Dave vergeudet mühelos keine Noten, wenn sich die Strophen und Refrains abwechseln. Die Platte lehnt sich an spirituelle Jazz-Vibes auf "Diamond Encore" an, mit einem dunklen und tiefen, fast "Axelrod-artigen" Rhythmus-Track, um dann mit dem Stomper "Still Standing" die Energie wieder aufzunehmen. "Dave Wants You" hat einen ganz eigenen Bop mit einem unorthodoxen Schlagzeugmuster, das Dave mit seinen Trompetenschlägen verankert. Das jenseitige Arrangement von "Drony Boy" stellt die Produktion auf ein Podest. Das erste Intro wirkt fast wie eine Pause auf dem Album, während das zweite Intro den halsbrecherischen Track einleitet, der gleich folgen wird. Eine bedrohliche Gitarre signalisiert den Aufbau und das Ganze wird durch Daves wunderschöne Trompetenriffs untermalt. "Quesodillas" und "Green Door" leiten den Herbst des Albums mit ihrer sanften und intimen Energie ein und "Ruby's Rubies" ist der perfekte Abschluss der Reise.

"Love and the Russian Winter was released in 1999, the band’s 7th studio album, and included a hit cover of ‘Ain’t That a Lot of Love’. All other tracks were Hucknall originals. The new release includes remastered audio for vinyl.
"

The prolific, virtuosic original Bjarki Sigurðarson returns to the concept album format, with ‘A Guide To Hellthier Lifestyle’. It’s the first LP to be released on Differance.

‘A Guide To Hellthier Lifestyle’ explores the psychological landscape of contemporary social issues, offering a sideways rumination on lifestyle dilemmas and wellness obsessions, presenting itself as a response to the modern condition. It combines storytelling with innovative sound textures – encouraging listeners to pause and contemplate the absurdities of contemporary life. Neither a critique nor an endorsement, it represents an honest exploration of our world through Bjarki’s sonic lens, gleaming a heart of darkness, but eventually finding light.

The album utilises hyper-stereo techniques, soothing melodies, complex audio structures, AIgenerated voices and sampled vocals – influenced by Coil, Genesis P- Orridge, and Paul Lansky. Bjarki investigates how specific frequencies can impact consciousness, awareness, mood, and mental state, thereby influencing our perception of reality. His vaporous sound design provides a listening experience that bridges the physical and imaginative realms; sometimes placing the listener in contemplative sanctuary, and at others making them lost – somewhere strange, uneasy, disconnected.

Bjarki on his Guide To Hellthier Lifestyle

“This new album has been two years in the works. It’s sort of my take on all the social weirdness and wellness obsessions happening right now. It kicked off with a track I started in California – the story of a soul that got born into the wrong womb. During that time, I was noticing more and more of this whole ‘wellness religion’ everywhere – people trying to sell you ‘good vibes’ and random people offering you life coaching sessions on Instagram who maybe have less life experience than a houseplant. All these apps that track our every move; it’s like they’re repackaging control and calling it ‘self care’. Capitalism in yoga pants. Thats when I started putting ‘A Guide To Hellthier Lifestyle’ concept together. A never ending, self improvement rabbit hole. We are all being sold this idea that we are not quite enough and we need to buy our way out to being better.

At one point, I took a break from the album and started working on another album full of satirical speeches, AI generated voices, where I create my own voices and type in some ideas of speeches, taking the piss out of wellness gurus and life coaches. I messed a lot with these AI voice generators, creating these deep, faux serious monologues. Proper weird stuff, but it cracked me up. Reminded me of the early days, when I was 13, making tracks on Fruity Loops, mucking around with text-to- speech generators. After the break I came back to finish ‘The Guide’ on a much deeper level.

I moved part of my studio to Latvia and continued in the countryside for few months. I realised that I just wanted something beautiful. So, yeah, this album is all of that. It’s spiritual, bits and pieces from the past, all these weird cultural moments, and whatever strange places my head goes. It’s a reflection, a rebellion, a bit of a piss take. But mostly, it’s just me, doing what I do.” - Duncan Clark

The album will be released only in its entirety, December 13th digi, with no advance singles.

DJ support: Chris Stussy, M-High, Prunk, Cinthie, Michel de Hey, Locklead, Dennis Quin

When Souls Collide - A soulful fusion of sound and spirit, this track invites listeners to experience a harmonious clash where emotions and rhythms intertwine.

Shy Time - Inspired by the vibrant energy of Chicago, this deep house gem brings a raw, underground vibe that captivates and moves the dance floor.

Feel Free - A high-octane heavy house anthem, 'Feel Free' is designed to electrify any dance floor with its cutting-edge beats and infectious energy. Prepare for some real damage!

Dexed Tek- The perfect B-side to complete the EP, 'Dexed Tek' features dubby chords layered over a powerful beat, creating a deep, immersive soundscape that resonates long after the last note fades.

Les Disques Bongo Joe is reissuing Au Revoir, the debut album by Société Étrange, originally released in 2015 on the Lyon-based label S.K. Records, and now considered a cult classic. This Lyon trio, composed of Antoine Bellini (electronics), Romain Hervault (bass), and later joined by Jonathan Grandcollot (percussion), explores a minimalist instrumental soundscape, where repetition and tension play a central role.

Au Revoir was created with a raw and intuitive approach, mostly composed during the group’s earliest days. At the time, Antoine and Romain were working as a duo, experimenting with drum machines and electronic sounds inspired by the post-punk of the 80s, the robotic grooves of Neu! and Cluster, and the DIY spirit of early hip-hop. The result is a music that is both hypnotic and introspective, where the presence and absence of sonic elements balance with minimal precision. Between electronic layers and winding bass lines, the tracks move forward like on a foggy road, uncertain but captivating.

For this reissue, Société Étrange offers two new recordings. One of them is a revisited version of Voiturin à Phynance, renamed Voiturin à Fifinance for the occasion, with Jonathan Grandcollot now fully integrated into the group. His percussive style, both organic and melodic, has profoundly transformed the group’s sonic dynamics, adding richness and texture to this new version. The previously unreleased track Blanchard completes the edition, offering another facet of their universe, more spontaneous and free.

This reissue is more than just a re-release of an out-of-print album. It is a testament to the evolution of Société Étrange, a group that blurs genre boundaries, seamlessly blending post-punk, krautrock, dub, and electronic minimalism. With Au Revoir, the trio crafts a singular instrumental sound, where each note seems to carry a unique weight and intention, borrowing equally from abstraction and narrative.