FanFar'On: ''After the success of his latest works on international platforms, the French veteran now based in Madrid will be the second release for the FanFar'On catalogue.
It’s the next chapter for Terence and you will recognize his new inspiration & futuristic vibe here. To complete the record, the young prodigy from Tel-Aviv Stephan BazBaz (Politics Of Dancing Records, Djebali) delivers a remix of title-cut 'Vision of the Futur', explosive breakbeat built for the dance floor.
We are really happy to have Terence & Stephan on board for the second ep of the label, Welcome ! and let the FanFare begin.''
Formed in 2016 by transatlantic buds Nick Mitchell Maiato and James
Toth, One Eleven Heavy is a band designed as a Venn diagram of the
pair's shared musical loves Crazy Horse, Grateful Dead, and Dylan come to the fore when listening to their joyful third album, Poolside, but the influences go much deeper.
Toth says, We were lucky to have our touring drummer, Jake Morris (Stephen Malkmus & The Jicks) at the ready to play drums. Nick's pal, the fantastic Guy Fowler, plays bass on the record.
Guided by mysterious producer Colin Sick, One Eleven Heavy spent
a year writing and recording the tracks that form Poolside, an album that feels like a gothic western romp through cartoon dreams of escaped criminal ciphers ( Tyrant King ), rebound coke binge recollections ( Rizzo In The Wig ), and tales of sasquatches crossing state lines ( Bama Yeti ).
Heels & Souls Recordings’ fifth reissue sees them reach across the Atlantic to Vancouver, pressing up Pilgrims Of The Mind’s 'What’s Your Shrine?' for the first time ever on vinyl, 25 years since its CD-only release on Map Music. A departure from the label’s previous releases, the LP is a beautiful smorgasbord of styles - progressive house, downtempo, ambient, tech house and trance all nestle together, a wiggling journey of sonic delight from the mind of Stéphane Novak.
Turn the dial back to ‘97 and Vancouver's underground had a distinctive buzz to its rumblings, an amalgamation of scenes and styles gave rise to a cohort of producers that were unconstrained by genre, offering up a heady mix of sounds to expand the mind. ‘Welcome To Lotus Land’ the key 1996 compilation on Robert Shea’s seminal Map Music, championed much of this output including two cuts from POTM. Stéphane then released his first and only full-length album, ‘What’s Your Shrine?’ on the same label the following year.
Picking out choice moments from an album as considered and complete as this is tough. Those horizontally inclined will be drawn to the ambient dwellings of ‘Sandcastle’ & ‘Following the Sofuto Kuriimo’, tracks like ‘Nothing Can Pull Us Apart’ and ‘L’Amour? Encore?!’ are perfectly suited to warming up limbs on the dancefloor, ‘My Baby Likes Rum’ and ‘Loosejaw’ prime for one in full swing. Yet to pick individual tracks misses the stunning sum of its parts that this 70+ minute cruise is, surely one of the finest albums from the American West Coast during its halcyon days of the ‘90s.
Digging deep in his vaults, Stéphane managed to uncover the original unmastered DATs that have been given a fresh mastering by Justin Drake at the Bakehouse Studios. This beautiful, double-disc gatefold comes complete with liner notes from Ciel, words from Stéphane himself, plus never-before-seen photography - the complete package this music always deserved.
When Belgium’s Bonzai Records released Cherrymoon Trax I “The House Of House” in 1994 it was like nothing I had ever heard before. It is a masterpiece that captures the energy and euphoria of rave culture from the mid 90s in such an iconic way. I picked this track out of my record collection a few months ago and felt compelled to create a tribute to this groundbreaking work.
My respect to the original producers Yves Deruyter; Alex Stephenson; Frederico Santini and Franky Kloeck. (Thomas Schumacher)
SPF 50, real name Stephan Kimbel Olson, has graced New York’s finest sound systems with his deep, rolling club sets. In his numerous roles – DJ, engineer, party promoter, label head, producer and dancer – Stephan has become an essential contributor to New York’s nightlife culture, a fixture in the city’s extended sonic community.
On Social Life, his first release with NY label Bliss Point, Stephan has channeled two booming club workouts, each with modular synthesis evoking the organic: an unruly bassline snakes through the aural fauna of “Body Concept”, while breaks and acid fly by on “Liquid USB”, an intricate sonic constellation propelling through space, culminating in the release of classic house chords midway.
On the B side, Stephan takes us deeper into the unknown. “Grove Map” is world-building club ambiance aptly named after The Grove, a stage deep in the woods at New York’s Sustain-Release festival, where portals have long been known to be opened. “Iris (Bad Water Version)”, rounds out the offering, a drippy dub that time seems to slip off of, perfect for a melted warm up or come down.
British musician, multi-instrumentalist, producer and DJ cktrl returns with the release of his new EP ‘Yield’. Born from a desire to change the narrative around contemporary Black British music, the boundary-pushing musician aims with this project to prioritise the art of bonafide musicianship. A stark departure from cktrl’s previous work, ‘Yield’ is a celestial and palpably more inward body of work that harkens back to the pre-electric age of modal jazz while simultaneously pulling in elements from the disciplines of classical and baroque music. Speaking on the project’s sonic identity, cktrl says: “I want to be able to show that you can make things from scratch again that have that feeling and beauty without having to sample an old record. Even though that’s an art-form within itself, I want to show raw orchestration and instrumentation can be the sole source” The origins of the title came from a period where cktrl was looking to find solace in himself after an introspective period of grief and heartbreak. As an intentionally instrumental project with minimal vocals, cktrl wants prospective listeners to see these new songs as guided meditations where they can wholly insert themselves in it. Eliciting and reaping whatever feelings come to the fore. Speaking on what ‘Yield’ means to him as a concept, cktrl explains: “Some people who I've asked to define the word ‘yield’ have looked at it from a harvest point of view, whereas others have seen it as something to submit to, to render, like you're giving up yourself. I see it as a barometer for how you feel - no matter if you're at your lowest or your highest vibration, you still need to show up for yourself. You still have to be present. It’s about getting the best from yourself no matter where you are in life” The new project is the follow up to last year’s ‘Zero’ which featured collaborations with esteemed contemporaries like the GRAMMY-nominated Mereba and anaiis. Upon the project’s release, it was met with a plethora of critical acclaim from highly regarded publications and platform such as British Vogue, Dazed, CRACK Magazine, Resident Advisor, NOTION, Harper's Bazaar and ES Magazine for its sprawling and experimental scope, spanning avant-garde jazz, classical music, alternative R&B and electronica. cktrl has a tune for every occasion: as content making beats by himself at home in Lewisham as he is amongst this generation’s fashion and cultural vanguards. Music has been a part of his life for as long as he can remember: from clarinet lessons throughout his school life to fond memories from his NTS days. Moulded by a unique blend of his West Indian heritage, years of classical training in both the clarinet and saxophone, cktrl strives to do what hasn’t been done before. His approach to creation is decidedly wide-ranging and broad. In fact, where sonic descriptions might fail to encompass the breadth of cktrl’s scope, three words surface when he unpacks his musical aims: freedom, range and feeling. Elsewhere, throughout his career, cktrl has been recognised and heralded by fashion and film VIPs as he firmly embeds himself within the black cultural renaissance emerging here in Britain. Acquiring a global network of creatives that include the late Virgil Abloh, Bianca Saunders, Tremaine Emory, Saul Nash, Maximilian Davis, Ahluwalia, Stephen Isaac Wilson, Sean Frank, Campbell Addy, Ib Kamara and Jenn Nkiru who secured him a cameo in Beyoncé’s ground-breaking film ‘Black Is King’.
Please welcome TYSHER, based in the region of Nuremberg with his first vinyl release on his brandnew label, heavenly inspired by artists like Stephan Bodzin, Anna and Innellea.
The Resurrection EP is a world where energy, rhythm and atmosphere combine to create feelings of wonder, euphoria and positivity.
Released as limited vinyl only, so you better get your copy
PETROS KLAMPANIS is a Greek bass player and when we heard his track “Chroma “on Bandcamp we had instantly the idea of a remix or working with him. The original track being live gives a sort of spontaneous vibe that really caught Alex ‘s attention and had the “edit / version” idea already in his head.
Without the shadow of a doubt this track was perfect to be remixed by a real musician who can understand complex jazz arrangement, so Jon Dixon came up. Jon loved the track too and did his thing. Two versions here for you to dive deep into jazz and electronic music. We hope you dig the sound of this project and enjoy the listening and maybe the dance experience with us. We will keep pushing forward the various styles and soulful grooves with an open mind and expand our visions.
« In Praise Of Nothing » is the debut EP of the brand new S.A.C.S 89 imprint created by Stephen & Charlou former founding members of OPAQ Records. S.A.C.S 89 stands for Society Against Conformist System and aims to defend uncompromising music. On this first record founders Charlou & Stephen provide 2 tracks each and 2 collaborations ranging from techno & EBM to synth-pop. An invitation to join their new system.
The beloved deep melodic house & techno collection by Parquet Recordings is going into the 18th round!
„Parquet Most Wanted EP Vol. 18“ is featuring four beautiful masterpieces by Solee, Microtrauma, Paradoks and Alexandros Djkevingr & Greg Ignatovich. All tracks are 100% dancefloor-proofed and already gained massive international DJ support by the likes of Tale of Us, Stephan Bodzin, Pig & Dan, Dosem, Ryan Davis, Undercatt, Bebetta, Markus Kavka, Eelke Kleijn, Chicola and many more.
Double LP: Heavy 350gsm Sleeve, Liner Notes, Sticker
WRWTFWW Records is very happy to reissue Swiss cult band Grauzone's self-titled album in an expanded 40 Years Anniversary Edition packed with the original 1981 album plus 9 extra songs, as well as extensive liner notes by Swiss music historian Lurker Grand. The 19-track album is available as a double LP vinyl in heavy 350gsm sleeve and a digipack CD, both sourced from the original reels and put together under the supervision of band member and all around legend Stephan Eicher.
The pioneering band from Bern (Switzerland) had a short-lived but highly-regarded career which birthed a cult discography that still fascinates and resonates today. Consisting of core members Martin Eicher, Stephan Eicher, and Marco Repetto, and on-and-off participants Christian GT Trüssel, Claudine Chirac, and Ingrid Berney, the elusive group broke new grounds in the early 80s, experimenting with punk and industrial music, early techno sounds, minimalism, new wave, pop, and various electronics. With an innovative and polished approach to design, visuals, performance, and all around style and philosophy on top of their superb music, the constantly transforming unit developed a whole experience - the Grauzone experience: wild and unpredictable, yet sophisticated and cohesive, or as Swiss music historian Lurker Grand would call it, "an Art band with a Punk attitude".
Completely rejecting the music industry rules and refusing to play the game of promotion, touring, release schedules, and TV appearances even though they had a multi-platinum international hit with the song "Eisbär", the band quickly disintegrated in full convention-defying glory, leaving behind an inspiring music legacy for the world to discover and discover again, one generation after the other.
This extended version of their debut (and only) album beautifully crystallizes the Grauzone miracle/accident - where pop and youthful experimentation meet at (new/cold/no) wave and industrial crossroads, and where classic hits ("Eisbär", "FILM 2", "Raum", "Träume Mit Mir", "Der Weg Zu Zweit"…) flawlessly mesh with unconventional deep cuts ("In Der Nacht", "Film 1", "Maikäfer Flieg"…). Very simply put: GOOD timeless music with an edge.
Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and Sylvie Fleury, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin's Rephlex label.
Superlux Records continues its release schedule this December with a debut EP from Taymor Zadeh. The four-track Life Goes On EP includes three originals from the UK-based artist, as well as a special remix from One Records co-founder, Subb-an. Speaking on the production process behind the EP, Taymor describes how “ Life Goes On was made using a tb303, roland mc505, a 909 which I borrowed from a good friend, some vocal samples from old tape recordings and a load of imagination.”
The A Side gets underway with Bubbleworks , and Taymor’s “imagination” is plain to see. It’s a no-nonsense club-ready cut, with thick hats and an up-tempo lead bassline residing next to an array of bubble-sounding pops throughout. That same late-night feel continues into Life Goes On , as eerie vocals flitter between pulses of acid and punchy, whip-like drums. On the B Side, Gekula takes the lead. Fast-paced with clear minimal influences, we’re graced with eight minutes of dancefloor-geared delight as distorted voices reside atop a driving kick-hat backbone, before Subb-an’s remix continues in the same vein, taking us deep into 5 AM territory with glitchy synths and plenty of dark, low-slung percussion.
With an ethos of quality over quantity at his core, Taymor Zadeh has carved out a bespoke sound within the electronic music sphere. In recent times his releases have been welcomed by Stephane Genacia’s Highpath Records as well as Luca C’s See Double imprint, a testament to his keen ear for production. Berlin-based Subb-an is a leading figure in the UK minimal scene. As co-founder of One Records, 2020 has seen the label celebrate ten years of releases with a two-part vinyl sampler, including tracks from the likes of Anna Wall, Matthew Johnson and more besides.
German cult band "Bohren & der Club of Gore" release their eigth studio album via 'PIAS Recordings'. The band have built a loyal international fanbase on the back of their trademark ‘Doom Jazz’ sound and count musical icons such as Mike Patton and Stephen O’Malley among their fans. Strictly instrumental, this band and their sound have the healing power to survive these hectic modern times. For fans of Melanie de Biasio, Sunn O)))' and the soundtracks of David Lynch. The band played two sold out shows in London’s Round Chapel recently and will tour the UK again in 2020.
'PIASD5045LP' pressed & designed on 2x12" Gatefold Coloured Vinyl.
Black Truffle is pleased to make Oren Ambarchi's Grapes from The Estate available once more on vinyl. Originally released on CD on Touch in 2004 and reissued on Southern Lord as a limited double LP in 2006 during Ambarchi's tenure as a member of Sunn O))), Grapes from the Estate was a landmark release for Ambarchi, seeing him expand his sonic palette beyond the clipped, bass-heavy electric guitar tones he was known for at that point. Incorporating subtle layers of strings, keyboards, percussion over a bedrock of his signature guitar tones, in retrospect this album can be seen as the beginning of a broadening and evolution in Ambarchi's work that would lead to his acclaimed, densely layered epics for Editions Mego, Quixotism (2014) and Hubris (2016). Beginning with the shuddering pure tones of opener 'Corkscrew', which looks back to previous guitar-only releases such as Suspension (2001), the album's next two pieces show a progressive broadening of the instrumental palette and a corresponding move away from textural abstraction and sustained tones towards more traditional notions of musicality. This reached its high point on the album's third piece, the fifteen-minute long 'Remedios The Beauty', where guitars, both acoustic and electric, strings, piano, and bells build from a murmur to an interlockinging web of repeating melodic patterns over gently swinging brushed snare and cymbals. The epic closer, 'Stars Aligned, Webs Spun', returns us to a space populated only by the electric guitar, but unlike everything Ambarchi had produced up until this point in his career, the piece has a liquid, psychedelic edge that looks forward to the shimmering harmonics of his more recent work. As Brendan Walls wrote at the time of the original release, this is 'another outpouring of personal, intimate and enduring music from Oren Ambarchi'. Presented in a stunning gatefold sleeve featuring the original artwork and design by Jon Wozencroft. Redesigned by Stephen O'Malley Remastered and cut by Rashad Becker at D&M, Berlin.
Following the success of the last Parquet Most Wanted EP´s, here comes the 10th volume with four beautiful melodic-techno hymns by SOLEE, RANCIDO, MARIUS LEHNERT, SUPACOOKS and DOUGLAS GREED! Already massive international DJ support by STEPHAN BODZIN, , KÖLSCH, KOLLEKTIV TURMSTRASSE, GUY J, MACEO PLEX, FRANKEY & SANDRINO, HERNAN CATTANEO, EELKE KLEIJN and many more...100% Must-Have!
REPRESS 2017
Early Support from Stephan Bodzin, Steve Bug, Lexy, Christian Fischer, Markus Guentner, Laurent Garnier, Tim Xavier, Someone Else, Gunjah, Oliver Klein, H*O*S*H, Sebbo, Anderson Noise, Habersham, Emma Thompson, Markantonio and Jamie Stevens.
A dream come true for A Colourful Storm to be releasing an early gem by Tenniscoats, a duo whose DIY spirit, boundless creativity and lust for life and collaboration has left an indelible mark. From self-releasing albums and tapes on their own Majikick imprint to meeting kindred spirits The Pastels, Bill Wells and Jad Fair in between outings for Morr Music, Chapter and Häpna, to name but a few, Tenniscoats have embodied an understated determination and optimism for over two decades.
"A foghorn melodica, voice, fractions, fragments, nothing and everything all at once. We Are Everyone opens out slowly, a little eerily, magic tumbles into play in well-measured rations. Meanwhile, on the cover, Saya and Ueno's heads seem to merge into the sky as if living amongst the wisdom of the clouds. Or maybe somewhere between sleep and reality, like Ueno's description of Tenniscoats' music. We Are Everyone is one of those records where you almost feel engulfed in its making - you feel like you're in the room with Tenniscoats as they push themselves to the limit, trying to make the very best record they can." - Stephen Pastel
For Louis Johnstone, making music has never been about waiting for the right equipment, the right environment or the right moment. Across more than a decade of work as both Wanda Group and A Large Sheet Of Muscle, the Huddersfield-based musician has built one of British experimental music's most singular bodies of work by embracing whatever happens to be within reach, allowing instinct, improvisation and circumstance to shape the outcome as much as conscious composition.
"'Chinese Benefits' was made over a year ago on an iPhone that had a broken microphone and was on its way out," he explains. "I have made many records after this with clearer sounds. Sharper ideas. That is never the point, though. You work with what you hold in your hands."
Recorded entirely on a failing iPhone 6 that stopped working shortly afterwards, 'Chinese Benefits' isn't a record about damaged technology. It is a record shaped by it. Rather than resisting the limitations of the device, Johnstone allows them to become part of the music itself, where distortion, interference and deteriorating fidelity are inseparable from the recording process.
Across twenty brief but disquieting pieces, corroded spoken word, environmental recordings, abrasive noise and fractured electronics continually emerge and dissolve. Voices drift in and out of range, reverberation stretches everyday sounds beyond recognition, and bursts of white noise interrupt moments of uneasy calm. There are echoes of radio transmissions, field recordings and musique concrète throughout, yet 'Chinese Benefits' never settles comfortably into any one tradition. Instead, it inhabits a space where accident and intention become almost impossible to separate.
That philosophy has long defined Johnstone's work. Through a vast catalogue of self-released recordings on his Umbro G imprint, alongside releases for labels including The Trilogy Tapes, he has consistently favoured immediacy over refinement, embracing imperfection not as an aesthetic but as a practical reality. His recordings are less concerned with perfection than with capturing the conditions in which they were made.
Looking back on 'Chinese Benefits', however, Johnstone's own assessment is characteristically understated.
"Listening back fully, it's quite a nice record actually. Fair enough, I make them and never really listen again TBH. Even better, it was the last Large Sheet Of Muscle record made on that phone with grit and damaged guts."
Like much of his work, 'Chinese Benefits' offers few fixed meanings. Its titles remain cryptic, its voices partially obscured and its structures deliberately unstable. What emerges instead is a deeply personal document of process over perfection, where the limitations of the tools become inseparable from the music they produce, and where the act of making something matters far more than the conditions in which it was made.
The follow up to her UK number 1 album This Is How Tomorrow Moves, the stark and striking fourth album by beabadoobee is named for the electricity towers that dot every major artery in the world—the strong, spindly structures that reminded Beatrice Laus of her connection to friends and family at home while she was staring down extreme disconnection and isolation on tour over the past few years.
The title can also be read as an allusion to Laus’ spiky, forceful new sound—the waves of distortion that crash and shatter across this record’s 14 songs mirroring the intense crackle you hear when walking under power lines. The pylon is also a fitting symbol for an album that reckons with the repetitive anxieties of your mid-twenties: What if I’m always going to be this way? What if life is just pylon after pylon on the road?
The album’s first single is available to stream and buy from today: “Sun Has Set” introduces Pylon as, in essence, a set of songs that began as diary entries, words that Laus thought she’d never be able to say out loud. “A lot of the songs on this record are things I wish I could have said to someone,” she says. “This song has this petty tunnel vision—it’s like, I hate you. You’re gonna stay here and listen to how much I hate you. Because I never got to say that.” The single comes accompanied by a striking first person video directed by Bea’s partner and longtime visual collaborator Jake Erland.
Ever a devotee of pure rock music—both as something to be cherished and something to be played with—Laus casts these feelings in songs that touch on classic grunge, midwest emo and ‘90s radio rock, zeroing in on a sound that is both harsher and more direct than any of her previous records. She says the music she’s loved has “always been an influence” on her music, and so for B4 she went straight to the source. A fair few of Beabadoobee’s composite influences contributed to Pylon, a fact that speaks to the goodwill and respect Laus has amassed over the course of her relatively brief career.
Hayley Williams sings on “Nothing to Prove,” a deeply anthemic indie-rock song about getting your power back from fairweather friends who just want a bit of your success. The moody “Powerlines” features a verse from Turnstile singer Brendan Yates, a master of matching vocal force with emotional nuance. Elsewhere, you’ll find contributions from Pinegrove’s Evan Stephens Hall, Deftones’ Chino Moreno, and Title Fight’s Shane Moran, as well as, on “Write Me A Letter”, production work from Laus’ longtime friends and collaborators Matty Healy and George Daniel of The 1975.
Beabadoobee will debut songs from the record on the Powerlines Tour, her first ever arena shows and biggest tour to date, taking in shows across North America, the UK and Europe this autumn-winter. The Powerlines Tour kicks off 1 October and includes stops at Madison Square Garden, The Kia Forum, The O2 and more (full routing below). Support comes from Wisp in the US, Canada and UK and Violet Grohl in France, The Netherlands, Belgium and Germany.
Born in the Philippines and raised in London, Beatrice Laus emerged as a British alternative music icon across three acclaimed albums and five EPs. She has garnered multiple BRIT Award and BBC Sound Of nominations, and won NME’s Radar award, whilst amassing over 10 billion streams worldwide and more than 12 million followers across her social channels.
This Is How Tomorrow Moves became her first record to reach number 1 on the UK Official Album Chart in 2024, following her Top 10 albums Fake It Flowers (which reached number 8) in 2020 and 2022’s Beatopia (#4). Earlier this year, beabadoobee released the one-off single ‘‘All I Did Was Dream Of You,” teaming up with Grammy-nominated best New Artist The Marías, the result of a longtime mutual creative admiration between María Zardoya and Bea.
out of Stock
Last delivered 4 days ago available to reorder, subject to availability
Eine komplett neue Vinyl-Version des Debütalbums von Genesis, die mit Zustimmung von Tony Banks, Peter Gabriel, Anthony Phillips und Mike Rutherford zusammengestellt wurde.
Neuer Stereo-Mix von Stephen W Tayler.
Inklusiv einer 12-inch Bonus EP mit neuen Mixen der Songs ‚A Winter’s Tale‘, ‚One Eyed Hound‘ und ‚Image Blown Out‘, plus einem bisher unveröffentlichtem Song ‚Visions Of Angels‘.
„From Genesis To Revelation“ erschien ursprünglich im März 1969 und war das Debütalbum von Genesis – der erste Schritt auf einem Weg, der der Band in den 1970er Jahren und darüber hinaus zu beachtlichem Erfolg und großer Anerkennung verhalf.
Diese Vinyl-Ausgabe ist die erste Neuauflage des Albums, die mit Zustimmung von Tony Banks, Peter Gabriel, Anthony Phillips und Mike Rutherford erstellt wurde. Sie enthält einen wunderbaren neuen Stereo-Mix von Stephen W. Tayler, der das Album in einer neuen Form präsentiert, wobei der Schwerpunkt stärker auf den Beiträgen der Band liegt und die Orchestrierungen der Originalmixe weniger im Vordergrund stehen. Diese neuen Mixe sind durchaus bemerkenswert und bieten den Genesis Fans einen völlig neuen Hörgenuss.
Eine komplett neue Vinyl-Version des Debütalbums von Genesis, die mit Zustimmung von Tony Banks, Peter Gabriel, Anthony Phillips und Mike Rutherford zusammengestellt wurde.
Neuer Stereo-Mix von Stephen W Tayler.
Inklusiv einer 12-inch Bonus EP mit neuen Mixen der Songs ‚A Winter’s Tale‘, ‚One Eyed Hound‘ und ‚Image Blown Out‘, plus einem bisher unveröffentlichtem Song ‚Visions Of Angels‘.
„From Genesis To Revelation“ erschien ursprünglich im März 1969 und war das Debütalbum von Genesis – der erste Schritt auf einem Weg, der der Band in den 1970er Jahren und darüber hinaus zu beachtlichem Erfolg und großer Anerkennung verhalf.
Diese Vinyl-Ausgabe ist die erste Neuauflage des Albums, die mit Zustimmung von Tony Banks, Peter Gabriel, Anthony Phillips und Mike Rutherford erstellt wurde. Sie enthält einen wunderbaren neuen Stereo-Mix von Stephen W. Tayler, der das Album in einer neuen Form präsentiert, wobei der Schwerpunkt stärker auf den Beiträgen der Band liegt und die Orchestrierungen der Originalmixe weniger im Vordergrund stehen. Diese neuen Mixe sind durchaus bemerkenswert und bieten den Genesis Fans einen völlig neuen Hörgenuss.
Driven by a lush and irresistible energy, Beyond Brazilian Stories takes you on a musical journey between Brazilian traditions and jazz improvisation.
Introduced to the richness of Brazilian music by Philippe Baden Powell, pianist Mathieu Bélis and double bassist Stéphane Dardour founded BSP PRODUCTIONS and formed the quintet Beyond Brazilian Stories, joined by saxophonist David Florsch, drummer Louis Bao Lao, and Äulne, vocalist and flutist.
Together, they revisit masterpieces by giants such as Milton Nascimento, Airto Moreira, Hermeto Pascoal, Dorival Caymmi, Edu Lobo and Moacir Santos, blending popular melodies with soaring instrumental passages.
The group also brings its own compositions, inspired by the vibrant energy of Brazilian music, creating a sound that is both authentic and innovative.
Their new album O ritmo do sonho has been awarded the “Revelation” distinction by Jazz Magazine!
Album contributors:
Mariana Zwarg - flutist, daughter of Itiberê Zwarg, Hermeto Pascoal’s bassist.
Edmundo Carneiro - Brazilian percussion legend (Tania Maria, De La Soul, Saint Germain, etc.).
Jessica Simon - trombonist, member of the Orchestre National de Jazz.
“An explosive fusion where samba, bossa and jazz become the playground for joyful and virtuosic freedom....” Jazz Rhônes Alpes
“...the brilliant Hermeto Pascoal,
whose spirit is present throughout O ritmo do sonho...” Revelation Jazzmag
CODE, das kommerziell erfolgreichste Album der elektronischen Pioniere Cabaret Voltaire aus Sheffield, ist endlich wieder erhältlich – nach jahrelanger Vergriffenheit.
Das ursprünglich 1987 veröffentlichte achte Studioalbum der Band wurde von den Originalbändern durch Denis Blackham neu remastert, der seit über 20 Jahren sämtliche Alben von Cabaret Voltaire gemastert oder remastert hat. Die Neuauflage erscheint bei Mute und präsentiert das originale Artwork in restaurierter Form.
Gemeinsam produziert mit Dub-Ikone Adrian Sherwood, markiert CODE einen mutigen Schritt in Richtung Synth-Pop und mechanischem Funk. Es war das letzte Album von Cabaret Voltaire, das mit einem großen Produktionsbudget entstand und dabei dennoch kompromisslos glaubwürdig blieb. Mit den Singles „Don't Argue“ und „Here to Go“, die beide Charterfolge feierten, zählt es zu den Höhepunkten im Schaffen der Band.
Der Albumtitel verweist auf ein Thema, das damals von großer Aktualität war und heute relevanter denn je erscheint: die zunehmende Durchdringung des menschlichen Lebens durch Technologie, Computer und Programmierung. Für Cabaret Voltaire stand CODE dabei sinnbildlich für Kontrolle – nicht nur im kreativen Prozess des Musikmachens, sondern auch im Hinblick auf gesellschaftliche und wirtschaftliche Machtstrukturen vor dem Hintergrund einer Ära des Überflusses.
Aufgenommen wurde das Album im bandeigenen Western Works Studio in Sheffield. Adrian Sherwood war bereits in der Vorproduktion beteiligt, bevor die Aufnahmen für den Mix in die Red Bus Studios nach London verlegt wurden. CODE dokumentiert eine Band auf dem Höhepunkt ihrer kreativen und kommerziellen Schaffenskraft.
Diese Wiederveröffentlichung wurde 2019 gemeinsam mit Richard H. Kirk begonnen. Nach seinem viel zu frühen Tod wurde das Projekt anhand seiner Notizen und in enger Abstimmung mit Stephen Malinder sowie dem Nachlass von Richard H. Kirk vollendet – eine würdige Hommage an sein außergewöhnliches Vermächtnis.
Format: LIMITIERTE AUFLAGE AUF CODIFIED MARBLE VINYL. Inklusive 2-seitigem Einleger mit neuen Linernotes.
World Of Echo are proud to announce the long-awaited reissue of the self-titled debut album by Bristol’s Movietone. Originally released in 1995 by Planet Records and reissued on CD in 2003 by The Pastels’ Geographic Music imprint, this is the first time Movietone has been reissued on vinyl. An expanded double-LP edition, it includes the extra tracks from the 2003 CD (their first two singles, and an unreleased demo of “Chance Is Her Opera”), and adds three more unearthed gems: demos of “Alkaline Eye” and “She Smiled Mandarine Like”, and an early take of “Late July”, recorded in a garden by Dave Pearce (Flying Saucer Attack) in 1993.
Taken together, this is the definitive collection of music from the first phase of one of Bristol’s most remarkable groups. Movietone was the cumulation of a series of events, explorations, and discoveries, starting at secondary school – the group’s core membership of Kate Wright, Rachel Brook, Matt Elliott and Matt Jones met at Cotham School in Bristol. As for many other groups, their early years were all about experimenting, and finding ways to ‘make do’, a DIY sensibility that would inform Movietone through their decade-long lifespan. From formative rehearsals in a shed in the garden of Brook’s family home, to recording early material to four-track in Redland Library, and on into the Whitehouse and Mr Grin’s studio sessions for their debut album, Movietone’s music fell together in a creatively unpredictable, yet conceptually rigorous manner.
By the time they released Movietone, they’d found a home with Bristol’s Planet, run by author Richard King and James Webster, who had both released their first two singles, “She Smiled Mandarine Like” and “Mono Valley”. There was other music happening around them in Bristol, too, from the Jones brothers’ avant-rock outfit Crescent (who were Movietone’s closest conspirators), through Elliott’s jungle/electronica project Third Eye Foundation, and Brook and Elliott’s membership of Flying Saucer Attack. A closely knit community, Movietone are the centre of this nestling architecture of groups. The vision in the music, mostly, belongs to Wright, but Movietone ran in democratic creative consort. Listening back to Movietone, you can hear this democracy in action through the wildness of the music, which is balanced by the poetics of Wright’s lyrics and melodies.
Full of half-captured memories and entangled abstractions, there’s an elliptical, ruminative quality to much of the writing here that shows the deep influence of the Beat Generation writers, along with a twilight environment captured in the songs that’s pure third-album Velvets, Galaxie 500, early Tindersticks, Codeine. Unpredictable interventions – the crashing glass in “Mono Valley”, the sudden explosions of “Orange Zero” point towards the noise blowouts of My Bloody Valentine, the unpredictability of Sonic Youth; Wright’s understated vocal cadence suggest a deep, embodied understanding of John Cage’s Indeterminacy.
Movietone would go on to make 3 fantastic albums for Domino: Night & Day (1997), The Blossom Filled Streets (2000) and The Sand & The Stars (2003) and their Peel Sessions were released earlier this year on Textile. Still held in high regard by artists like Steven R. Smith, and The Pastels, whose Stephen McRobbie once described them as “one of the great unknown English groups,” it’s an absolute thrill to listen to Movietone anew – still inspired, still seductive, still magic, still mysterious.
Original, Baby Doc & The Dentis, John 00 Fleming, Reinier Zonneveld, Charlotte De Witte, Red Jerry remix
Embark on a nostalgic journey through the pulsating beats of the 90s with the iconic anthem “The First Rebirth” by the visionary duo Franky Jones and Axel Stephenson. Since its inception in 1993, this timeless classic has etched its place in dance music history, and now it returns in a dazzling new avatar.
The much-celebrated track has been meticulously repackaged in a sleek, cool sleeve, accompanied by an electrifying array of both recent and classic mixes. Some of these renditions, previously confined to digital realms, make their long-awaited debut on vinyl, adding an extra layer of allure to this collector’s dream.
This exclusive 2 x 12" vinyl edition is strictly limited to just 500 copies worldwide and features a unique Inside Out cut, pressed on stunning Starlight vinyl — a striking black colour with vibrant coloured speckles, making each copy visually unique.
Don’t miss your chance to own a strictly limited piece of dance music history and immerse yourself in the reawakening of this electronic masterpiece. Only 500 copies available — once they’re gone, they’re gone.
out of Stock
Last delivered 9 days ago available to reorder, subject to availability
Ten Numero-minted, dance floor ready dive bombers from disco's all-to-brief heyday, previously swept under rug by the whitewashed glitz and glam of the era. Chugging grooves, bubbling synths, soaring strings, and sonorous voices are guaranteed to light up your night, on living room rugs and dance floors alike.
out of Stock
Last delivered 9 days ago available to reorder, subject to availability
50th Anniversary on limited edition 180g aquamarine vinyl. Small Change is a masterpiece that contains some of Waits" best early work. Classic jazz, Tin Pan Alley, and Stephen Foster filtered through Tom"s unique worldview and lyrical genius. Heartbreaking, hilarious and always vivid, songs like "Step Right Up", "Tom Traubert"s Blues", "I Wish I Was in New Orleans", "The Piano Has Been Drinking", and "Invitation to the Blues" are all classics that have influenced generations of songwriters since. Recorded with a live orchestra and featuring jazz legend Shelly Manne on drums, Small Change is a classic and stands as one of Tom Waits" most popular recordings.
The single is the latest collaboration from the pioneering electronic artist and follows “Intertwine,” which featured TT, aka Theresa Wayman of Warpaint. Other collaborations on A Body Of Voices include “Turns,” featuring the ethereal vocals of Nicole Miglis (Hundred Waters), and “True Love, Don’t Be Afraid” featuring Stephen McBean (Black Mountain & Pink Mountaintops), “Fight or Flight” ft. Aisha Badru, “Falling” ft. Maiah Manser and multi-instrumentalist Aaron Shaw, “Floating” ft. multi-instrumentalist and composer Spencer Zahn, and the unreleased track, “Take Me” ft. Raphaelle Standell-Preston (Braids, Blue Hawaii). A Body of Voices delivers the most collective and melodically driven project of his acclaimed quarter-century. Having spent decades mastering his natural instincts for space, tempo, and timing, LaValle set a deliberate goal to break beyond his usual parameters by inviting an expansive community of vocalists and marquee indie players into his realm. The resulting record pushes his sonic map entirely, seamlessly blending his signature, textural synthesis with a vibrant tapestry of voices spanning dream-pop, alternative, and R&B. Nearly thirty years into the project, A Body of Voices proves that while The Album Leaf remains unmistakably his, it is a pioneering musical universe he is never afraid to redefine.
This songwriting-focused approach on A Body of Voices marks a natural evolution for an artist who has been steadily making his mark as a soft-spoken innovator since 1999. Now based in Los Angeles, LaValle started out in the San Diego music scene, creating vivid, rhythmic, soaring instrumentals centered around the Rhodes piano. Over more than two decades of acclaimed releases on seminal labels like Sub Pop, City Slang, and others, he has become a definitive touchstone for meditative electro-organic music. While earlier milestones like 2023’s Future Falling and 2024's Blast EP found him increasingly renewed by outside perspectives, A Body of Voices brings that collaborative spirit to its full, unbridled potential.
Ltd Edition! Pat Todd & the Rankoutsiders — hervorgegangen aus der Asche der legendären Lazy Cowgirls und angeführt von einem Frontmann, dessen Name seit Jahrzehnten für das raue Herz der amerikanischen Underground-Musik steht — melden sich mit ihrem neunten Album „I’ll Dream Alone“ zurück. Zwölf Songs voller lauter Gitarren, schnörkelloser Storytelling-Tradition und der bekannten Mischung aus knurrendem 70er-Jahre-Punk, Country, Blues und klassischem Rock, die die Band seit den Lazy-Cowgirls-Tagen zum Maßstab für Authentizität in der amerikanischen Rock’n’Roll-Szene gemacht hat. Aufgenommen und produziert von Gavin Ross in den Steady Studios, Burbank, CA — demselben Studio wie die letzten beiden Alben. Pat Todd hat die Songs so geschrieben oder mitgeschrieben, wie es bei den Rankoutsiders Tradition ist — manche jahrelang live erprobt, bevor sie endlich aufgenommen wurden („Ambition Street“), andere direkt im Studio entstanden, mit Texten, die erst zum Schluss dazukamen („We’re Outta Time“, „The World It Don’t Need You“ und der Titeltrack „I’ll Dream Alone“ selbst). Das Album reicht von der an Velvet Undergrounds „Loaded“ erinnernden Ballade „Mediocre Heart“ über den treibenden Soul-Beat von „Beyond the County Line“ bis zum Update eines 60er-AM-Radio-Rockers in „The Last Of Me“. Gitarrist Nick Alexander übernimmt bei „It Ain’t All My Fault“ – nach wahren Begebenheiten – ausnahmsweise den Leadgesang, unterstützt von Stephen Vigh, Kevin Keller und Pat Todd. Den Auftakt macht die erste Single „Desire Has Left Town“, gefolgt von „We’re Outta Time“ als zweiter Single und „Blood & Gunpowder“ am Release-Tag. Die Band unterstützt die Veröffentlichung mit einer Europa-Tournee vom 9. Oktober bis 8. November 2026 und bringt „I’ll Dream Alone“ direkt ab Release quer über den Kontinent auf die Bühne.
Kukangendai are the innovative three-piece Kyoto based experimental rock band formed in 2006 with Junya Noguchi on guitar and vocals, Keisuke Koyano on bass, and Hideaki Yamada on drums. Since 2016 the band have set up shop in their studio and venue space, Soto, which houses an incredibly well tuned and powerful sound system that has become a well known destination for touring musicians. In March of 2025, Marionette was celebrating a belated 10 years of activity with label showcases across Japan in collaboration with Dotei Records, and Soto was inevitably one of the stops as many label alumni have set foot in the venue over the years. This is where I got to experience Kukangendai perform for the very first time and knew right then we were destined to work together.
Kukangendai embody an undeniable sense of timing and precision through collage-like repetition of minimalist phrases that manifest as a single unified rhythm. Their latest offering for Marionette, titled Baquet Wheel, is a purely acoustic endeavor, remarkably recorded live using Taku Unami's special binaural microphone. The trio seamlessly twist polyrhythms and melodies rooted in jazz, krautrock, blues, and Tuareg producing a timeless sound that preserves the primitive and memory evoking narratives buried deep within the music. Over the course of five tracks, the visceral nature of Kukangendai’s dynamic evolves from playful riffs that are seemingly familiar yet strikingly original, making it impossible to discern exactly when this material was conceived.
Kukangendai have maintained a prolific yet relatively low profile for the last two decades, with a handful of self-released editions on their own labels (Soto and Leftbrain) as well as a collaborative album with pioneering electronic music composer Ryuichi Sakamoto in 2018, then venturing outside Japan in 2019 to release their first widely distributed album on Ideologic Organ, a label curated by Sunn O)))’s Stephen O'Malley. Other collaborative projects to date include an album produced with rap group Moe and ghosts, live performances with Keiji Haino and with poet Gozo Yoshimasu, productions with the Chiten theater company, and most recently a remix album of their works featuring Carl Stone and Madteo.
The Montréal psych-ambient synth-droners return with Sequence Three, their first album in five years and the final instalment in the group’s opening trilogy of records that began with Sequence One in 2019. The spectral supergroup co-founded by Stephen Ramsay (Young Galaxy) and Jace Lasek (The Besnard Lakes), usually joined in some capacity by Lasek’s Besnard bandmate Olga Goreas, deliver another dose of its trademark longform slowburn jams, forged from restored vintage synths and analogue electronic gear. Lasek and Ramsay don their seasoned producer hats to apply rockist sound design to minimalist tracks, saturated with tube compression, drenched in pink and brown noise, all queasy modulation, sparse beats, and languorous melodic lines. Evoking a humid dawn on a gas giant, these alien drone anthems meld the numinous transcendentalism of Spiritualized and Cluster with the eroded grit of William Basinski and GAS. Light Conductor has been tagged “heavyweight analogue synth nirvana” by Uncut Magazine and praised for its “fabulous, epic, shimmeringly radiant kosmische” by Electronic Sound, among other accolades. Sequence Three consolidates these strengths, while leaning into the darker disquietude that has always been an undercurrent of Light Conductor’s aesthetic.
Sequence Three rounds out a satisfying trio of full-lengths that Light Conductor has released on Constellation, featuring vibrantly minimal geometric cover art designed by label co-founder Ian Ilavsky that integrates the trilogy as a visual series as well. In keeping with the previous two albums in the set, the Deluxe 180gLP includes a 12”x24” art poster. Thanks for listening.
The Montréal psych-ambient synth-droners return with Sequence Three, their first album in five years and the final instalment in the group's opening trilogy of records that began with Sequence One in 2019. The spectral supergroup co-founded by Stephen Ramsay (Young Galaxy) and Jace Lasek (The Besnard Lakes), usually joined in some capacity by Lasek's Besnard bandmate Olga Goreas, deliver another dose of its trademark longform slowburn jams, forged from restored vintage synths and analogue electronic gear. Lasek and Ramsay don their seasoned producer hats to apply rockist sound design to minimalist tracks, saturated with tube compression, drenched in pink and brown noise, all queasy modulation, sparse beats, and languorous melodic lines. Evoking a humid dawn on a gas giant, these alien drone anthems meld the numinous transcendentalism of Spiritualized and Cluster with the eroded grit of William Basinski and GAS. Light Conductor has been tagged "heavyweight analogue synth nirvana" by Uncut Magazine and praised for its "fabulous, epic, shimmeringly radiant kosmische" by Electronic Sound, among other accolades. Sequence Three consolidates these strengths, while leaning into the darker disquietude that has always been an undercurrent of Light Conductor's aesthetic. Opener "She Glitters The Dust" fades up slow with intertwining detuned synth loops, a languorous lullaby beat dropping at the 3-minute mark, accompanied by insectoid shimmers and a tease of melody that's eventually given free reign over the song's second half. Aptly titled, it's as if a transmission captured within a cosmic dust cloud has provided the raw material for the band to jam on, tease out, and terrestrialize. An echo of that beat sets the tranced pulse for "Omenize", the centerpiece of Side One and the fulfilment of Light Conductor's one-vocal-track-per-album directive. With layered harmonies by Goreas and Lasek, this is the group at its ethereally anthemic best, the devotional floating-in-space bliss attenuated by another gently warped denouement. "Ghost City Radio" closes out Side One with the band's most overtly anxious tune to date, deceptively stolid in its simple bass guitar riff and filter-swept hi-hat: groove stripped to its minimum as the foundation for an extended spokenword sample of a doomsaying prepper/preacher, a sort of homage to that early hallmark of their Godspeed compatriots, done up through the lens of Light Conductor's inimitably destabilized celestial ambience. (Lasek mixed the most recent two GY!BE albums.) Side Two offers up "High In The Orange Air", a beatless, squelching, bubbling ostinato drone and the album's most orthodox ambient kosmische track. This provides the set and setting for 15-minute closer "Supercontinent", which starts off in similar territory but gradually yields to a submerged and reversed techno pulse pumping through coruscated chordal drone, gaining in woozy mesmeric psych intensity over its inexorable hypnagogic trajectory. Sequence Three rounds out a satisfying trio of full-lengths that Light Conductor has released on Constellation, featuring vibrantly minimal geometric cover art designed by label co-founder Ian Ilavsky that integrates the trilogy as a visual series as well. In keeping with the previous two albums in the set, the Deluxe 180gLP includes a 12"x24" art poster. Thanks for listening.
Two of the most prolific remixers in the world of Disco,Dave 'Love' Lee and John Moraleshave teamed up for one of their biggest projects to date - 'Mixed To The Maxxx'. After gaining access from the legendary original artists, the pair take the multi-track tapes of many classic Disco, Funk & Soul tracks and re-work them...to the Maxxx!
Where Remixed With Love stands as Dave Lee's own gold-standard body of work, Mixed To The Maxxx sets that legacy alongside Morales' own decades-deep M+M body of work: Lee brings his musically dense, groove-first touch to the likes of Harold Melvin, Syreeta, Lenny Williams and The Brand New Heavies, while Morales applies his extended, dancefloor-built M+M treatment and crushes the likes of Barry White, The Temptations and Loleatta Holloway, plus Dennis Coffey's breakbeat classic "Scorpio" for the DJs and collectors alike. Both work from original tapes, surfacing parts barely audible or entirely unheard in the source mixes, and both know when to let a classic breathe rather than bury it under modern production. It's a pairing a long time in the making. Lee and Morales first talked about working together around a decade ago, and getting Mixed To The Maxxx off the ground took five years of patient work: tracking down usable stems, securing approvals, and navigating a licensing landscape where much of the best material is now tied up with major labels increasingly cautious about clearing remixes. What's landed here is the product of that graft as much as the pair's shared ear for a great record, the sound of two people who know exactly what they're looking for and are willing to put in the time to find it.
A double 12" sampler in summer 2025 previewed the record's range. A bass-driven overhaul ofThe Brothers Johnson's "The Real Thing" and an extended mix of Philly legends Bell & James' "Livin' It Up (Friday Night)" showcased Lee's side, while an anthemic take on Inner Life's "Ain't No Mountain High Enough" and a tempo-lifted Light Of The World"London Town" flew the flag for Morales. Both drew strong early support ahead of the full LP.
out of Stock
Last delivered 3 days ago available to reorder, subject to availability
Das in den USA ansässige Trio ist seit 2013 aktiv und besteht aus Ryan Lott, Ian Chang und Rafiq Bhatia. Getragen von Neugier und der Suche nach einem Gleichgewicht zwischen roher emotionaler Intimität und akribischen elektronischen Kompositionen lässt sich Son Lux, wenn nötig, den Genres Experimental Rock, Post-Rock und Electronic Rock zuordnen.
Ihren ersten Durchbruch erlebten sie mit dem Titel „Easy“, einschließlich Alternativversionen von Woodkid (2013) und Lorde (2014). Nominiert für den Oscar® und den BAFTA in der Kategorie „Beste Originalmusik“ für Everything Everywhere All at Once (2022 – Daniel Kwan). Son Lux traten bei den Oscars anlässlich ihrer Nominierung für den besten Song gemeinsam mit David Byrne und Stephanie Hsu auf. Weitere Filmmusiken: „Thunderbolts“ (Marvel).
Im Jahr 2026 arbeitete Son Lux mit Poppy und Harmony Korine an einem neuen Song und Video für Bungie Studios „Marathon“ (Videospiel). Zahlreiche Synchronisierungen, darunter „The Vow“ (HBO), „Skins“ (UK) (E4), „Baby“ (Netflix), „Good Girls“ (NBC) und „American Horror Story“ (FX)...
Lott und seine Bandkollegen – Gitarrist Rafiq Bhatia und Percussionist Ian Chang – stürzten sich in das rhythmisch opulenteste und textlich eindringlichste Son-Lux-Album, das es bisher gab. In fast zwei Jahrzehnten hat sich Son Lux einen Ruf für Pracht und Schwung erworben, doch 'Out Into' ist etwas anderes: eine kraftvolle Suite aus greifbaren, detailverliebten Songs, die aus schillernden Momenten kollektiver Improvisation entstanden sind.
A recent signee to Chess Club Records, Jo Geller aka jo from school, finds herself among the independent label’s pedigree of homegrown artists who have gone on to attain major success. Alumni such as Billie Marten, an artist long admired by Jo, as well as Wolf Alice, are just a couple of names who found their initial support through Chess Club.
At 22-years-old, jo from school’s graceful, carefully crafted but devastatingly delivered songs hit with an air of maturity that lands far beyond her years. An embrace for spontaneity and imperfection gives her material its character; primarily as an artist focussed on doing things her own way.
Writing on the piano since the tender age of nine, Jo self-taught herself guitar as a teenager during lockdown, joining the illustrious Brit School: “I was the only musician in my world until I went to Brit School, then I was the worst musician there,” she says. “It gave me a kick. I went from thinking that it was cooler to not care about anything, to realising the more you cared, the cooler and more individual it made you.”
Largely produced by Rich Cooper (CMAT, Billie Marten), so far both singles from the EP have been supported by BBC Radio 1, Radio 2 & 6Music. Huw Stephen's has invited Jo to feature in his Huw You Are segment airing on 6Music on 29th July, and Jess Iszatt has already had Jo as her Introducing featured artist on BBC Radio London. Rolling Stone UK featured jo as their Play Next artist last month, along with CLASH who just confirmed a Next Wave feature to run on EP release. Outlets like Line of Best Fit, DORK, DIY and Wonderland have all came to the table to champion jo too. We've also seen impressive audience growth in just 2 months – with jo adding more than 3k new followers across platforms since her debut single 'Chicken' was released on 6th May.
On the live front, jo was invited by Dirty Hit's Skullcrusher to support on her UK + European headline tour in June, with past supports also including TTSSFU, Daffo, Esme Emerson. Jo has been booked for Night Currents festival in Portsmouth and invited to support 1000 Rabbits, both in October, and will be Playing Estrella Soundhood Festival in London in September too.
Liam Hayes is an acclaimed American musical artist known for his songwriting and uncompromising approach to making records. He started cassette multitracking while a preteen and made his first real studio recording at twenty one. This started an obsession that ultimately led to his releasing a 7” single (Found A Little Baby/Three Quarters Blind Eyes) on a small US indie label. Those tracks garnered the attention of the UK music press, and on the strength of those songs a career was launched. The follow up was highly anticipated by critics and listeners alike, but rather than playing to expectations he delivered a highly personal album of solo piano/vocal songs (More You Becomes You). Not one to repeat himself, Hayes started off the millennium by serving up the extravagant pop/soul opus (Fed). Both records are now considered to be masterpieces.
Hayes’ songs are recognised for their exquisite melodies, poetic lyrics and distinctive vocals. He’s released seven albums, two singles and a soundtrack, and applies his craftsmanship to a variety of genres from orchestrated pop to stripped down rock. Comparisons to Brian Wilson, Laura Nyro, Carole King, Harry Nilsson, Badfinger (and even Prince) are numerous. His music takes the best of radio and stellar classic pop records of the 60’s and 70’s and brings it into the present.
Along with making records Hayes has appeared on screen performing his music in High Fidelity (directed by Stephen Frears) and A Glimpse Inside the Mind of Charles Swan III(directed by Roman Coppola) which he also wrote the soundtrack for.
In this, their first production for Hayes, are (executive producer) Terrence Washington and (multi-instrumentalist/producer/arranger) Vincent Carlo with additional contributions from Terrence’s father, legendary arranger TOM TOM 2084 (Chi-Lites, Phil Collins, Plush).
His latest album, Dancing Backwards, sees Liam stepping through the shadows in his life and into a new musical day.
The follow up to her UK number 1 album This Is How Tomorrow Moves, the stark and striking fourth album by beabadoobee is named for the electricity towers that dot every major artery in the world—the strong, spindly structures that reminded Beatrice Laus of her connection to friends and family at home while she was staring down extreme disconnection and isolation on tour over the past few years.
The title can also be read as an allusion to Laus’ spiky, forceful new sound—the waves of distortion that crash and shatter across this record’s 14 songs mirroring the intense crackle you hear when walking under power lines. The pylon is also a fitting symbol for an album that reckons with the repetitive anxieties of your mid-twenties: What if I’m always going to be this way? What if life is just pylon after pylon on the road?
The album’s first single is available to stream and buy from today: “Sun Has Set” introduces Pylon as, in essence, a set of songs that began as diary entries, words that Laus thought she’d never be able to say out loud. “A lot of the songs on this record are things I wish I could have said to someone,” she says. “This song has this petty tunnel vision—it’s like, I hate you. You’re gonna stay here and listen to how much I hate you. Because I never got to say that.” The single comes accompanied by a striking first person video directed by Bea’s partner and longtime visual collaborator Jake Erland.
Ever a devotee of pure rock music—both as something to be cherished and something to be played with—Laus casts these feelings in songs that touch on classic grunge, midwest emo and ‘90s radio rock, zeroing in on a sound that is both harsher and more direct than any of her previous records. She says the music she’s loved has “always been an influence” on her music, and so for B4 she went straight to the source. A fair few of Beabadoobee’s composite influences contributed to Pylon, a fact that speaks to the goodwill and respect Laus has amassed over the course of her relatively brief career.
Hayley Williams sings on “Nothing to Prove,” a deeply anthemic indie-rock song about getting your power back from fairweather friends who just want a bit of your success. The moody “Powerlines” features a verse from Turnstile singer Brendan Yates, a master of matching vocal force with emotional nuance. Elsewhere, you’ll find contributions from Pinegrove’s Evan Stephens Hall, Deftones’ Chino Moreno, and Title Fight’s Shane Moran, as well as, on “Write Me A Letter”, production work from Laus’ longtime friends and collaborators Matty Healy and George Daniel of The 1975.
Beabadoobee will debut songs from the record on the Powerlines Tour, her first ever arena shows and biggest tour to date, taking in shows across North America, the UK and Europe this autumn-winter. The Powerlines Tour kicks off 1 October and includes stops at Madison Square Garden, The Kia Forum, The O2 and more (full routing below). Support comes from Wisp in the US, Canada and UK and Violet Grohl in France, The Netherlands, Belgium and Germany.
Born in the Philippines and raised in London, Beatrice Laus emerged as a British alternative music icon across three acclaimed albums and five EPs. She has garnered multiple BRIT Award and BBC Sound Of nominations, and won NME’s Radar award, whilst amassing over 10 billion streams worldwide and more than 12 million followers across her social channels.
This Is How Tomorrow Moves became her first record to reach number 1 on the UK Official Album Chart in 2024, following her Top 10 albums Fake It Flowers (which reached number 8) in 2020 and 2022’s Beatopia (#4). Earlier this year, beabadoobee released the one-off single ‘‘All I Did Was Dream Of You,” teaming up with Grammy-nominated best New Artist The Marías, the result of a longtime mutual creative admiration between María Zardoya and Bea.
out of Stock
Last delivered 32 days ago available to reorder, subject to availability
