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2024 Repress
The Aggrovators were one of Jamaica’s finest session bands, many of the tracks you know and love from the 70’s Reggae scene probably featured this group of musicians in some shape or form.
The band were put together by Bunny’Striker’Lee , one of Jamaica’s formidable producers, who with no studio of his own had to rely on buying studio time from the existing establishments, such as Randy’s Studio or Channel 1.
The updating of Studio 1 classic’s which in some cases were reworkings of American R&B tunes was common practice. The rhythms were much loved favourites and with the added incentive that the musicians knew the tracks inside out.
This set of dubs are straight from the master tapes of such sessions orchestrated by the man Bunny Lee himself, no one knew better…you can’t keep a good tune down never mind a great one..
So sit back and enjoy The Aggrovators in fine Studio 1 style….RESPECT

Die schwedische Produzentin und DJ La Fleur bricht drei Jahre musikalischer Stille mit ihrem bevorstehenden und lang erwarteten Debütalbum 'Väsen', das am 18. Oktober bei PIAS Électronique erscheint. Ihr unverkennbarer Stil ist technisch hervorragend ausgearbeitet und zu gleich hochemotional. Ihre neuen Songs, die ständig überarbeitet wurden, haben eine optimistische, positive Kraft und melodische Schönheit über komplexen Perkussionsschichten, die so mit Hooks geschmückt sind, dass man die Ohren nicht davon abwenden kann.

Während der Pandemiejahre zog La Fleur von Berlin zurück nach Schweden und arbeitete als leitende Angestellte in einem Stockholmer Krankenhaus. Eine krasse Veränderung nach einem Jahrzehnt mit ihrem eigenen Label Power Plant, zahlreichen Kollaborationen und gefeierten DJ Set und Auftritten. Die gezwungene Pause nutzte sie, weiter an ihrem Debütalbum zu feilen, das 2020 eigentlich schon fertig war, doch ihre geänderten Lebensumstände sollten noch einen Einfluss darauf haben: „I’ve always drawn inspiration not only from music, but changing elements in my life. It’s only now I feel I have the tracks ready for the world to hear.“

- Col. LP: (Green Bio-Vinyl)

High Roller Records, Black Vinyl, 425gsm heavy cardboard cover, insert, poster

High Roller Records, Orange/ Red Mixed Vinyl, 425gsm heavy cardboard cover, insert, poster

Ardor or Entropy is Nzʉmbe's first album in nine years, following 2015's Titubeo. During this period, philosopher and artist Miguel Prado's sonic output has included synthesizing a sonic Gernika with his band HARRGA alongside Dali de Saint Paul, and crafting a hallucinatory sci-fi mythology for Lucrecia Dalt's latest album, ¡Ay!."
Rewiring the conventions of chamber electronics and postmodern songwriting. Here it is presented A Spanish' song cycle on love and cosmological redshift. The distant echo of Tristan‐and‐Iseult's smoking gun where lovemaking becomes an enactment of entropy, a transformation between the dynamic and the static, the human and the fetish, illustrating the inevitable decline into chaos and stillness.
A beached singing voice (beautifully processed by Rashad Becker) against electro-acoustic backdrops ranging from the caustic, viscous to the bonecrushingly dense worldbuilding shared by HR Giger, Ballard and Pynchon. Transcendental and psychotic vistas that boldly examine human fragility and the surrounding abyss of godlessness.
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Artist: Nzʉmbe Title: Ardor or Entropy Label: Drowned By Locals Catalog Number: DBL31LP Year: 2024
Side A:
Mirror Of TauromachyZone Of AlienationGreat Vitreous TactKarman Vortex Street
Side B:
Serpentine LinesThermocline Anake and EntropyErgosferaAsymptopia
Composed, arranged and recorded by Miguel Prado Casanova
Vocal processing by Rashad Becker Piano on "Anake and Entropy" by Michael PisaroPipes on "Mirror Of Tauromachy" and "Ergosfera" by Wojciech RusinAccordion on "Asymptopia" by Alfredo Costa MonteiroTrumpet on "Asymptopia" by Ruth Barberán Electric bass on "Asymptopia" by Dominic LashElectric guitar on "Asymptopia" by Daniel BennettPercussion on "Asymptopia" by Alex Lázaro
Premixed by Miguel Prado Casanova Mixed, Mastered and Vinyl cut by Rashad Becker
Artwork photos by Lúa Ribeira © all rights reserved, 2024Design by Giovanni Murolo
This album is dedicated to Patricia
Special thanks to Patricia Fraga, Dali de Saint Paul, Mattin, Lucrecia Dalt, Laith Demashqieh, Lúa Ribeira, Rashad Becker

Phoebe Rings is a dream-pop band offering a unique blend of introspective yearning with celestial danceable grooves. Their self-titled debut EP, a hopeful collection of musings, out on Carpark Records, is a testament to the distinctive musical style of Auckland jazz-school-trained pianist and songwriter Crystal Choi. Across six tracks, the EP is a love letter to some of the band’s influences: Studio Ghibli films, Zelda and Stardew soundtracks, Bossa Nova, Stereolab, and 90’s Korean ballads.

In 2020, the band played their first gig in a ‘funny side room’ during a festival at Auckland Town Hall. Choi’s songwriting was brought to life with Alex Freer on drums, Simeon Kavanagh-Vincent on guitar and synths, and Benjamin Locke on bass. Choi says she knew the tracks had to be recorded after the band played the songs better than she could ever imagine. And so, remotely through the COVID-19 lockdowns, the band started recording the EP.

“Daisy” is the vibrant leading single, with the shimmery refrain “Ooh-wee-a-waa” and the uplifting mantra: “When you’re next to me, the world’s full of daisies.” The swirling synths fizz on the skin like warm sun, promising growth and new starts. “Cheshire” is an Alice in Wonderland-inspired trip through the rabbit hole, pacing in anticipation. “Like a Cheshire cat, it grins and disappears in moments when you accept yourself,” explains Choi. Locke and Choi finished the lyrics one evening, huddled in the corner of a local underground music venue, with references to Murakami’s book Dance Dance Dance.

Choi grew up in Seoul, developing a palette for K-pop and retro sounds. The city-pop influence of “January Blues” shines through, with Choi crediting one of her favourite songs from the ’80s: “연극이 끝난 후 After Play”. The track explores her disconnect with the summer break. “In the Northern Hemisphere, January is winter,” says Choi. “I missed that a lot, and I don’t vibe with the beach.”

“Spissky,” chimes in with Choi’s lilting vocals reminiscent of childhood lullabies, inspired by a lonely-looking castle she saw on tour with Princess Chelsea in Slovakia. While “Ocean” leans into its mumble-core roots, taking a leaf from the Cocteau Twins. There’s an external shift in the EP, with “Lazy Universe” being the most energetic track, evolving with the band’s chaotic sci-fi experimentation. Asking, “Are you still waiting for a kiss?” Choi is self-critical and urgently speaks up from being passive.

The members of Phoebe Rings are cemented in the musical ecosystem, balancing other projects and full-time work. Yet Sundays will always be carved out for Phoebe Rings to dream up imaginative, world-building tunes — often with a Nintendo game soundtrack in the background as inspiration.

Coming together as Raz & Afla, Raz Olsher and Afla Sackey converge worlds through their dynamic fusion of electronic and traditional African rhythms, forging a path that is as bold as it is innovative. Rooted in their deep-seated passion for music and cultural exploration, they seamlessly blend their distinct musical backgrounds to create a unique sonic landscape that captivates audiences worldwide.

Raz Olsher is a visionary producer and composer known for his boundary-pushing electronic soundscapes, bringing his expertise in blending diverse musical elements to the duo. His meticulous attention to detail and penchant for experimentation form the foundation upon which Raz & Afla's sound thrives.

Already part of the Wah Wah 45s family with his band Afrik Bawantu, Afla Sackey is an esteemed percussionist and vocalist with roots tracing back to Ghana. He infuses the duo's music with rich traditional African rhythms and melodies. Afla's virtuosity on percussion instruments and his soulful vocals add a visceral, organic dimension to their compositions, creating a mesmerising auditory experience that transcends cultural boundaries.

Together, Raz & Afla defy genre limitations, seamlessly weaving together electronic beats, Afrobeat grooves, and intricate percussive textures. Their music resonates with a deep sense of cultural authenticity and a forward-thinking approach that pushes the boundaries of contemporary music.

Following on from their critically acclaimed full length debut The Cycle, and its subsequent remix project, their sophomore LP, Echoes Of Resistance, finds the duo remaining committed to exploring new sonic territories and creating music that speaks to the universal language of rhythm and melody. Once again, they invite listeners on a journey that celebrates the beauty of cultural exchange and the power of music to inspire and unite.

From more politically conscious cuts like the singles What's Going On? and We Taya, and On Da Phone, which deals with addiction to social media, to dealing with more personal and social issues on songs like ENo Be Me and Ano Be Mumu, Raz & Afla's music is something for the mind, body and spirit, as well as the feet.

There are moments of pure euphoria and unadulterated joy too though, as tracks like Mon Ni Fere, Voodoo Zeezee and Baby Moo inspire elated, tribal dance floor pleasure, and there's still time for a little, good old fashioned loving as Shikor Shikor conjures up the raw emotions of care and affection whilst delivering a hypnotic beat and instantly irresistible vocals from Afla Sackey.

With a growing discography that includes critically acclaimed releases and collaborations with musicians from around the globe, Raz & Afla continue to carve out their place in the international music scene. Their electrifying live performances are celebrated for their energy and the profound connection they forge with audiences, making every show a vibrant celebration of musical diversity and harmony.

IGLO debuts on the infamous UKW49b label with an EP which shows his holistic approach on music having an ear for the floor and hedonistic listener.

Rubblebucket’s new album explores one particular year from the band’s past known as the Year Of The Banana. Frontwoman Kalmia Traver has a personal practice of naming each year since 2011. However, in 2015 (Year Of The Banana) Kalmia’s romantic relationship with Rubblebucket co-founder Alex Toth fell apart, and that year was spent peeling off psychological layers in search of the sweetness that would allow the friendship, and the band, to continue. “People get obsessed with the albums that were never finished because the band couldn’t stay together,” Kalmia says. “But Year Of The Banana is the album that did get finished.” So Rubblebucket is celebrating 15 years as a band with a record about the year it almost ended. Rubblebucket is still a through-and-through art rock dance band, virtuosic experimental musicians with a pop sensibility along the lines of Talking Heads, Prince, or Kate Bush. But there’s nothing retro about Rubblebucket’s sound; they’re mixing electronics with real instruments, especially horn sections (Alex plays trumpet, Kalmia sax) and they feel at home in the same universe as Caroline Polachek, SZA, or Chappell Roan. Listening to Year Of The Banana, it’s impossible to overlook how joyful it is, how full of hope. The album speaks to the power of transforming and adapting relationships in a time when the world needs it most. The album has a transforming effect, inspiring us to face ourselves and radically keep loving each other, assuring us that the unpredictable process has potential to feel as free and sweet as peeling a banana on the dance floor.

“Do you still believe it?” John Ross asks that question after journeying through the wreckage. The genesis of Dulling The Horns goes back to late 2022, when Ross began workshopping new material during soundcheck on the ILYSM tour. Last summer, Wild Pink decamped to western Massachusetts to reunite with engineer Justin Pizzoferrato. Ross decided to record Dulling The Horns live in the room, in an effort to capture Wild Pink’s onstage style — rawer, grainier. Gone are the glimmering atmospherics and studio affectations of recent Wild Pink outings. Instead, Ross’ voice is haggard against the humid distortion coating every song. “I wanted to make economical songs,” Ross explains. “Music that is very much at its core three or four people rocking.” If before, Wild Pink took notes from Springsteen and Petty, they’ve now entered their Crazy Horse era. On Dulling The Horns, you can hear him rediscovering the fire in real time. Tropes discarded along the roadside, songs pulled from the formative DNA of rock music, all filtered through years of messy fog. “There is no answer to these problems,” Ross says, having eventually yielded. But as far Dulling The Horns is concerned, there’s at least one path forward: Burn it all away, and keep moving. The album was mixed by Alex Farrar in Asheville NC, mastered by Greg Obis in Chicago, IL and is out in October on Fire Talk.

“Do you still believe it?” John Ross asks that question after journeying through the wreckage. The genesis of Dulling The Horns goes back to late 2022, when Ross began workshopping new material during soundcheck on the ILYSM tour. Last summer, Wild Pink decamped to western Massachusetts to reunite with engineer Justin Pizzoferrato. Ross decided to record Dulling The Horns live in the room, in an effort to capture Wild Pink’s onstage style — rawer, grainier. Gone are the glimmering atmospherics and studio affectations of recent Wild Pink outings. Instead, Ross’ voice is haggard against the humid distortion coating every song. “I wanted to make economical songs,” Ross explains. “Music that is very much at its core three or four people rocking.” If before, Wild Pink took notes from Springsteen and Petty, they’ve now entered their Crazy Horse era. On Dulling The Horns, you can hear him rediscovering the fire in real time. Tropes discarded along the roadside, songs pulled from the formative DNA of rock music, all filtered through years of messy fog. “There is no answer to these problems,” Ross says, having eventually yielded. But as far Dulling The Horns is concerned, there’s at least one path forward: Burn it all away, and keep moving. The album was mixed by Alex Farrar in Asheville NC, mastered by Greg Obis in Chicago, IL and is out in October on Fire Talk.

Produced by Wild Rivers and Gabe Wax (Soccer Mommy, Adrienne Lenker), "Better Now" consists of eight tracks that complement the recent album Never Better, as the group dives deeper into the complicated, confusing and unknown realities of life in their twenties, and the personal growth they’ve found through it all. Of the new project, Wild Rivers shares: “Better Now" is our companion record, and the other side to "Never Better".

On the first record, the songs contain raw, absolute and instinctual feelings. In many ways, Better Now is the afterglow of this. We’re reflecting and understanding that relationships change over time. Complicated situations can be just that, complicated. Feelings can remain unresolved. If the first record is bright and bold, this one is the softer gradients in between; the sunrises and the sunsets. Both projects make up the full spectrum of who we are.

"Better Now" is just the moodier, misunderstood one. Musically the records really are twins. We wrote all of the songs at the same time. Finishing Better Now, we really felt that it was the close of a massive musical and personal chapter. It’s bittersweet but so meaningful to be able to chronicle our lives between these projects. Ultimately, we are optimistic; ‘better now,’ after the ups and downs of the relationships and turbulence of our twenties. Hopefully we’re wiser for it.”

Soifass veröffentlichen zum 25jährigen Jubiläum ihr neues Album und nie klangen die Berliner besser aufgestellt zwischen wohldosierter Härte und prägnanten Refrains. Ein absolutes Brett! 1999 in Ost Berlin als Oi-Punk Band gegründet, fand man schnell seinen eigenen unverkennbaren Stil irgendwo zwischen Punk, HC, Oi! und hin und wieder sogar mit Ska Einflüssen (auf Speed). Schnelle und treibende Beats treffen auf ballernde Gitarren, lebendige Melodien und Straßenköter Gesang ohne textlich aber genretypische Klischees zu bedienen. Man teilt aus, man steckt ein, verzichtet auf den gehobenen Zeigefinger genauso wie auf kommerzielle Ambitionen. Während viele Bands ihren Sound an den "Deutschrock"-Trend der letzten Jahre anpassten ist die Band um Shouter Viktor in ihrem Revier geblieben. Und es gibt viel in den 12 neuen Songs zu erzählen und in Soifass-typischer Manier die Dinge beim Namen zu nennen: "Hipster-Stomp" ist die quasi Fortsetzung ihres Anti-Gentifizierungshits "Großstatdtwahnsinn", die Berlin und andere Großstädte für ihre neue Spielwiese infiltrieren. In "Berliner Walzer" gibt's ein schonungsloses Tänzchen über die immer größere werdende Kluft in der Ellbogengesellschaft. Soifass packten die unter den Fingenagel brennenden Themen lyrisch schon immer anders und subtiler an. Statt Parolen und plakativ aus dem Setzkasten, entfalten Songs wie "Verschwörer" eine ganz andere Wirkung, wenn im intimsten Umkreis der eigene Partner die ganze Schwurbelscheisse glaubt, oder in "Exzessiv" mit beißendem Zynismus einem den Spiegel von der angeblich heilen Welt vorhält. Und wenn man schon 25 Jahre lang dieses Berliner Aushängeschild zu einer der besten deutschsprachigen Streetpunkbands gemacht hat, darf man mit "Anglizismen" auch selber zurückblicken. Soifass tun auch dies ohne die übliche Selbstbeweihräucherung. Diese Band ist eine Klasse für sich...Authentisch, Dreckig-Soifass!

Soifass veröffentlichen zum 25jährigen Jubiläum ihr neues Album und nie klangen die Berliner besser aufgestellt zwischen wohldosierter Härte und prägnanten Refrains. Ein absolutes Brett! 1999 in Ost Berlin als Oi-Punk Band gegründet, fand man schnell seinen eigenen unverkennbaren Stil irgendwo zwischen Punk, HC, Oi! und hin und wieder sogar mit Ska Einflüssen (auf Speed). Schnelle und treibende Beats treffen auf ballernde Gitarren, lebendige Melodien und Straßenköter Gesang ohne textlich aber genretypische Klischees zu bedienen. Man teilt aus, man steckt ein, verzichtet auf den gehobenen Zeigefinger genauso wie auf kommerzielle Ambitionen. Während viele Bands ihren Sound an den "Deutschrock"-Trend der letzten Jahre anpassten ist die Band um Shouter Viktor in ihrem Revier geblieben. Und es gibt viel in den 12 neuen Songs zu erzählen und in Soifass-typischer Manier die Dinge beim Namen zu nennen: "Hipster-Stomp" ist die quasi Fortsetzung ihres Anti-Gentifizierungshits "Großstatdtwahnsinn", die Berlin und andere Großstädte für ihre neue Spielwiese infiltrieren. In "Berliner Walzer" gibt's ein schonungsloses Tänzchen über die immer größere werdende Kluft in der Ellbogengesellschaft. Soifass packten die unter den Fingenagel brennenden Themen lyrisch schon immer anders und subtiler an. Statt Parolen und plakativ aus dem Setzkasten, entfalten Songs wie "Verschwörer" eine ganz andere Wirkung, wenn im intimsten Umkreis der eigene Partner die ganze Schwurbelscheisse glaubt, oder in "Exzessiv" mit beißendem Zynismus einem den Spiegel von der angeblich heilen Welt vorhält. Und wenn man schon 25 Jahre lang dieses Berliner Aushängeschild zu einer der besten deutschsprachigen Streetpunkbands gemacht hat, darf man mit "Anglizismen" auch selber zurückblicken. Soifass tun auch dies ohne die übliche Selbstbeweihräucherung. Diese Band ist eine Klasse für sich...Authentisch, Dreckig-Soifass!

Wyatt Flores, is an American country music singer-songwriter and musician. EMI are please to announced his debut album Welcome To The Plains will be released in UK on 18th October. Flores told fans that the record will be released on October 18th and was inspired by his native Oklahoma and ultimate search for happiness. From stories about his life, family and many places he’s been, it is highly-anticipated by fans and was produced by Beau Bedford (Orville Peck, Shane Smith & The Saints). They recorded the songs between Los Angeles and Asheville, North Carolina (a pretty stark contrast), and the songs feature writers like Old Crow Medicine Show’s Ketch Secor and Aaron Raitiere, as Wyatt details the struggle of leaving his hometown of Stillwater and dealing with the highs and lows of life on the road as an up-and-coming musician.

The album is Frost* at its most ambitious, offering nearly 90 minutes of music over 14 exquisite tracks. The album is the brainchild of Godfrey who was inspired to create the conceptual world for the album based on the group’s previous release Day and Age (2021).

Fans of the band’s masterful debut album Milliontown (2006) will enjoy the band revisiting the style that made that debut album one of the most successful prog rock albums of the last 20 years, a fact that was not lost on Godfrey as he was writing this new record. “With Day and Age, we made it a very specific point: we're not doing any solos, we'll do clever arrangements. And we enjoyed that discipline, but this time I thought it might be good to row back on that position a bit. Plus I wanted to have a little bit of a nod to Milliontown with this album, because it's been nearly 20 years since Milliontown came out and I’m still proud of it. The 15-minute title track has a few of those Milliontown moments in it which were great fun to do again.”
Mitwirkende
wird veröffentlicht am 18. Oktober 2024

Line-Up:
Jem Godfrey – Keyboards, guitar, vocals
Nathan King – Bass, vocals
John Mitchell – Guitars, vocals
Craig Blundell - drums

"Jede Prog-Band, die etwas auf sich hält, sollte eigentlich ein Doppelalbum machen, oder?", fragt Frost*-Frontmann Jem Godfrey. Das war eine der ersten Ideen, als der Songwriter/Keyboarder/Sänger der Band die Arbeit an Frost*s 5. Studioalbum "Life in the Wires" in Angriff nahm. Das Album ist Frost*s ehrgeizigstes Werk und bietet fast 90 Minuten Musik auf 14 exquisiten Tracks. Das Album ist das Geistesprodukt von Godfrey, der von der vorherigen Veröffentlichung "Day and Age" (2021) der Gruppe inspiriert wurde, die konzeptionelle Welt für das Album zu erschaffen. Fans des meisterhaften Debütalbums "Milliontown" (2006) werden sich freuen, dass die Band den Stil wieder aufgreift, der das Debütalbum zu einem der erfolgreichsten Prog-Rock-Alben der letzten 20 Jahre gemacht hat - eine Tatsache, die Godfrey nicht entgangen ist, als er das neue Album schrieb. "Bei Day and Age haben wir es sehr genau genommen: Wir machen keine Soli, wir machen clevere Arrangements. Und wir haben diese Disziplin genossen, aber dieses Mal dachte ich, es wäre gut, in dieser Position ein wenig zurückzurudern. Außerdem wollte ich mit diesem Album eine kleine Anspielung auf Milliontown machen, denn es ist schon fast 20 Jahre her, dass Milliontown herauskam, und ich bin immer noch stolz darauf. Der 15-minütige Titeltrack enthält ein paar dieser Milliontown-Momente, die zu wiederholen mir großen Spaß gemacht hat." "Life in the Wires" wird als limitierte 2CD Edition, als Gatefold 2LP und als Digitales Album erhältlich sein, mit atemberaubendem Artwork von Carl Glover (Steven Wilson).

New twelve inch of vintage Wackie's on City Line. The A-side features two of the best Wackie's deep roots tunes previously only released on compilation, which have long needed single release. Stranger Cole's somber "Capture Land" about the reality of squatting in the ghetto, followed by Wanachi's instrumental cut of the brilliant rhythm you might know from Azul's 'Black Rose.' The B-side features a really unique previously unreleased tune from one Moon Dread. Operatic, semi-acoustic and haunting, if you like early Ras Michael & The Sons of Negus, this tune offers a maybe less spiritual and more theatrical but still compelling take in that vein from about a decade later in the late 1970s. Comes in new Wackie's company sleeve.

The Midnight Rock label was home to some of the greatest productions of the era, and like any smart Jamaican producer, label owner Nkrumah Jah Thomas worked his rhythms hard, using them to create scores of records by dozens of artists. Sometimes the tracks that he created were released, but still more languished in the vaults. Caught on multi-track tape, but never released.

That was the fate of a session that he recorded with Sugar Minott. The singer - known in the UK for his monster hit ‘Good Thing Going’ - had made his name in the vocal group The African Brothers, before working as a soloist for Coxsone Dodd at Studio One. For the Acid Jazz distributed Roots Records, Thomas has worked hard in creating sharp new mixes for this single - a plea against gun violence as apt today as when it was put down on tape - the first fruits of that work.

A fantastic Radics rhythm with an exceptional vocal and brand-new dub by Jah Thomas and Rory on the flip. Adorned with the classic Midnight Rock label.

After the Spanish escapade 'Teatro Lucido' and the sweet journey 'Paris Hawai', the group created by Marlon Magnée and Sacha Got continues their world tour with 'Rock Machine,' their first album entirely written in English. Composed over the past few years during various tours around the world, this new LP has been strongly inspired by the succession of dates in the USA, Canada, South America, Australia, and the encounters that ensued. The band returns to its New Wave and Synthwave roots from their acclaimed first LP 'Psycho Tropical Berlin' (Machine), which they mix with an Anglo-Saxon rock sound from the 80s/90s (Rock). This album is an ode to rock'n'roll, its effectiveness, and timelessness, but also an ode to love and despair. La Femme continues to develop with Rock Machine a universe beyond trends with their own sound and aesthetics. In addition to rock and synthwave sounds (of which 'Clover Paradise' is the perfect example), there's still electro (Sweet Babe), surf music (Ciao Paris), disco with a UK punk twist (My Generation), and even elements of western. The list is long but always unique and coherent