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The Coney Island Rhythm Band join the Sosilly gypsy family with their first track 'Dancing Down The Path' feat. Jerk. Together they deliver a party hands in the air throwback any good disco & house fan should know!

''E.R.M.B'—Contemporary disco that oozes funk thanks to its plump bassline and jaunty, clipped pianos, it's augmented by slivers of classic breakbeat goodness, vibrant strings and an earworm vocal hook and ravey piano chords combine in melancholy fashion to provide a dramatic juxtaposition. BIG!

Sleepytime Trio was a post-hardcore band that formed in 1995 in Harrisonburg, Virginia. Originally a side project of the band Maximillian Colby, they quickly took off as they played shows around the mid-Atlantic region; building a reputation for their volatile, emotional sound and unpredictable live energy. Their shows were notorious for exploding into controlled chaos. They were a cacophony of tangled limbs, busted gear, and a visceral sense that everything might combust in a split second. In 2024, Solid Brass Records partnered with Sleepytime Trio and their longtime label, Lovitt Records, to begin work on a discography to memorialize this important band. 'Memory Minus Plus Minus' is a 14 track collection. Numerous songs have been remixed by J. Robbins at Magpie Cage Studio for improved quality and everything has been remastered by TJ Lipple. Limited edition opaque bublegum colored vinyl comes in a gatefold jacket and includes a booklet with extensive liner notes and full “gigography” documenting their shows from 1995-2018.

Recorded in a sweaty flurry at a vital moment in Nuzzle’s ‘90s run, ‘Follow, for Now’ is raw, loose, and fierce. Less than 1,000 copies were originally pressed in 1995 and songs like “The Sorting That Evens Things Out” and “Newfoundland,” became the band’s most ballyhooed; both live at the time and on CD and streaming in the decades since. This 30th Anniversary Reissue has been remixed and remastered from the original tapes and keeps the original’s urgency and adds essential upgrades. FFO: Unwound, Lync, Clickatat Ikatowi.

Jessica93, prodigal bastard of our glorious french squat scene, relocated on Born Bad : this is no picnic. Geoffroy Laporte, alone against all odds, alternates bass and guitar to build harsh loops with a drum machine spitting pre-Gulf War patterns. That’s where it gets tricky : every musical posse claims him. Grunge, sure, but Jessica doesn’t indulge in necrophilia. His circuit is punk, he doesn’t dress the part though. Cold wave, the atmosphere fits somehow, but the gear does not. The self-confident rock horde saw him playing with hair in his eyes… but he never joined the Party. Metal had something to say but sadly, nobody listened. Maybe it's time to give it a rest and let Jessica93 cook his great misery broth on her own, called « 666 tours de périph’ » (666 laps on the beltway). Witnessing Jessica93 live makes you dread that he'll get up the next morning, drive 200 miles and one nap later kick it again, when it takes us a good week to recover from the bad half of that same evening. Like so many other unknown soldiers during our very own world war of music, he patrols small venues relentlessly.



At the heart of this cultural pentacle painted by french weirdos Bryan's Magic Tears, and Carine Krinator, Jessica93 has built a sound validated by years of chosen vagrancy, birthing bands with joyously stupid monikers, in the humid jungle of small labels. Jessica93's debut album had a track celebrating Omar Little, HBO’s gay bandit from Baltimore. This story begins on the beltway, where Florence Rey, accidental copkiller turned to political icon of the 90’s. Geoffroy offers his brilliant analysis : " C’est la police qui nous tire d’ssus / C’est mon trou d’balle qui leur chie d’ssus « (Police shoots us down / my dripping asshole gets the job done).



A previous album was haunted by bedbugs, this one is essentially about love, a delicious scourge just as hard to eradicate. Two black diamonds peek out of the LP : ’’La colline du crack’’, heartbreak song about the ultimate temptation of violent delights, located on crackhead central in Paris. The brilliant chorus, ‘Take my hand and come with me to Crack Hill’ will put an end to the rumours, almost everything was really false. And Bébé Requin, alternative obituary that’ll make you shiver, where our nice couple states ‘’on kiffe la drogue dure et les ptits chiens’ (‘we love hard drugs and little dogs’). And that is the reason we face the wall of sound jostled by unnecessary shoulder thrusts: those nice fat chunks of charcoal poetry, hidden under light sarcasm.



The rest of the record demonstrates the know-how acquired in loop-by-loop construction of ruins that are pleasant to squat in together. There’s your classic doom delicatessen, with bits of heavy metal inside, crafted with the manic care typical of hard wankers. Arthur Satàn, who produced and mixed the album at home in Bordeaux, helped him get his head out of the reverb safe house. And Jessica93 took the opportunity to switch to the dark side of the language : french at last. Worth the wait ! Sing along : « nique sa mère / nique sa grosse mère » (translate that yourself).

MJ Lenderman writes songs that are amorphous and elastic, rising to fill the venue they"re in, generous to accommodate the number of players on stage, less concerned with replicating the studio version than they are with meeting the crowd where they"re at. On And the Wind (Live and Loose!), the Asheville-based Lenderman handles most of the playing, but with The Wind, it"s a multi-headed beast. This live album is culled from sold-out summer 2023 shows on a brief headline run during what some might call a wild-*ss couple of months. It captures a near-euphoric moment in time - dizzying and exhausting and, most of all, having some real true-blue f**king fun with your best friends. It"s 90s college rock meets Americana hootenanny, an electrifying piece of the MJ Lenderman lore that needs to be experienced live with a light beer in-hand - but in the interim, And the Wind (Live and Loose!) does its best to commit the scene to tape.

ciccio bomba cannoniere (chunky monkey)

Is the sound weapon of the A-zienda rthz, illustrated by the render called M.E.R.I.C.O.O. (Erect, rechargeable intelligent machine with organic dog) This project of a definitive media A-ssailant presents all the necessary elements for the domination of social hierarchies:

trace of a human face for identification

a stalker server for omnipresence in digital field

a system of locomotion for moving in any field

a genetically modified dog for keeping counterfeiters away

comfy clothes and an M60 around the neck

The name derives from an A-ncestor rthz called Merico. Police officer who in the late 1800s left a tavern and rode on the back of his mule Cina with the objective of stopping a train so that he could light his cigar. And this happened. Merico was then tried and dishonourably discharged.

"Pop" is a tag that's been assigned to Minus The Bear throughout their career. It's been used to set a distinction between the unique brand of complex indie rock they introduced on their first EP and the more angular and aggravated sounds of their previous bands Botch, Kill Sadie, and Sharks Keep Moving. It's also a tag that was thrown around frequently in the wake of their streamlined fourth album, OMNI. And it's a descriptor that immediately comes to mind within the first few seconds of their classic second formal EP, They Make Beer Commercials Like This. Now celebrating its 10-year anniversary and first time in print since 2011, Beer Commercials is the evolutionary step between Minus The Bear's first two landmark albums, Highly Refined Pirates and Menos El Oso. Opening track "Fine + 2 Points" remains one of the band's strongest opening tracks in their discography,charging out of the gates with a syncopated stomp that comes across as a more agitated take on Kylie Minogue's "Can't Get You Outta My Head". If Minus The Bear were looking to make pop music without any of its major-scale bubblegum trappings, they nailed it here. The band follows it with "Let's Play Clowns" and "Dog Park" - nods to Highly Refined Pirates' formula of frenetic clean guitar work, bombastic choruses, and Jake Snider's lyrics of detached romantic nostalgia. These tracks may represent Minus The Bear's original trademark version of pop, but on songs like "I'm Totally Not Down With Rob's Alien" the band eschews it's restless energy for atmosphere and dynamics, creating a sound that's inspired more than a handful of contemporary melodic post-rock bands. By the time the band belts out "Pony Up!" the listener has watched the three-year sonic transition between Minus The Bear's first two full-lengths transpire within under half-an-hour, with the their earlier math rock predilections yielding to the tightly wound club-banging pedalboard trickery that defined their sophomore album. Even if Beer Commercials doesn't fit within your definition of pop music, the unorthodox energetic charm of this relatively low-profile release serves as an exciting reminder of why Minus The Bear became one of the most important and influential indie rock bands of the new century.

Off The Record (faitiche 39), the new album by French collagist Roméo Poirier, is an amusing romp through the discarded history of recording studios. It contains fourteen miniatures based on accidental recordings of studio talk, revealing things that were never meant for the public: we hear instructions from studio staff, scraps of talk between musicians, or just microphones being adjusted, as well as false notes, false starts: everyone stops. Start again: 1, 2, 3, 4!

Poirier’s approach recalls Accumulation, an artform practiced by Arman, Jean Tinguely and Daniel Spoerri that involved piling up everyday items into assemblages. The objects themselves often remained unaltered, the artistic gesture consisting in the careful curating of a distinctive selection. Poirier’s audio collages explore similar terrain. The fourteen pieces on Off the Record combine more than a thousand found sounds from studio archives into complex miniatures. The audio content of these outtakes is twisted, stretched, cut, reassembled, slowed down and accelerated. Voices cut into a microgroove, from a very old recording, intertwine with digital voices gleaned from YouTube. All of them in dialogue, engaging the listener with the impression of being part of a new music group.

Poirier uses the mundane routine of setting up before the actual recording gets underway to tell a universal story about working in a recording studio. And he manages something few achieve, transforming specialist knowledge into a narrative whose beauty goes far beyond its immediate subject. It speaks to everyone, because the story is told in a musical language that is open and accessible, evoking magical images reminiscent of Oz – a world consisting less of events than of camp hallucinations, captured in grainy black-and-white photographs. En passant, Poirier shows us how the notion of material accumulation can produce great art.

Written and produced by Roméo Poirier, mastered by Stephan Mathieu, photos by Roméo Poirier, graphic design by Tim Tetzner.

The debut album from Mexican duo Destino Sonido, namely electronic music veteran Juan Soto and rising vocal talent Labibe, mixes up disco swagger, upright funk attitude, synthpop flavours and just the tastiest smidge of pop instinct. 'Seduccion Galactica' has more than a touch of Vince Clarke's magic but rich simplicity about it, while closing tune 'Oscuridad' (You Man remix) adds an epic feel to proceedings, while simultaneously keeping them shiny and approachable. Dan Solo makes two appearances, Krofon pops in to lend a hand on 'Amandote' and Monsieur Von Pratt remixes 'Playa, Sol Y Amor' into a robo-disco banger. Following nobody's rules, it's an awful lots of fun from start to finish.

Billy Bultheel's debut solo album is an ambitious distillation of the composer's sprawling litany of influences and his unique approach to site-specific composition. A compilation of pieces created between 2016 and 2023, the album is a forceful testament to Bultheel's expansive performance practice and collaborations with cutting-edge visual artists like Anne Imhof and James Richards.