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Stripping away all expectations, constraints, pressures, and limitations, there’s a certain purity and allure to art crafted simply for the sake of genuine expression. The desire to unleash one’s unencumbered ingenuity and unique vision into the world is an attitude embraced by those often celebrated for pushing boundaries, and it’s under this same premise that German newcomers SENNA were formed.
Drawing their name from the Arabic word for brightness, shine, or glow, bandmates Simon Masdjedi (vocals), Tobias Stulz (guitar/ vocals), Marcel Dürr (guitar), Fabian Cattarius (bass), and Leon Dorn(drums), never intended for SENNA–a musical outlet originally established as a studio side project–to come into its own as a fully-fledged unit. Yet, tackling a luminous blend of playful but technical instrumentation and edgy hard rock meets progressive post-hardcore styling, it’s only fitting that both the innovative outfit and their introductory work have entered the limelight for all to enjoy.
“It was really liberating,” guitarist Marcel Dürr recalls the group’s mindset leading up to their SharpTone debut. “Because we weren’t pursuing SENNA as a proper band at first, we had a lot of time to experiment with our sound. Our goal was to simply write the music that we enjoyed, without being boxed into any one genre.

"All I Do Is Dreaming" is the band's third album.

A journey that takes you through various landscapes—gliding over electronic plains, climbing colorful pop hills, and occasionally venturing onto rugged indie rock trails.

Along the way, several encounters: a stop in Mexico with a remix by CLUZ, a collaboration in the UK with boundary-crossing indie artist Just Jack, and in the US with artist Pedro Blue.

Camel Power Club has never been more open to the fusion of ideas and talents—and it suits them perfectly.

The record tells the story of the Jesus De La Cruz Conde, who embarks on an epic journey of self-discovery after witnessing his hometown get burned to the ground. The tracks that make up this record are the very repertoire of songs sung by De La Cruz to Mezcal-soaked patrons in haunted cantinas, as he drifts from pueblo to pueblo across a desolate landscape bristling with tumbleweed. Throughout La Muerte en Realidad no Existe, Clothing conjures De la Cruz through this vampire-cowboy alter-ego creating as much a Mexican Gothic as a Latin American Giallo - a phantasmagoric fever dream of love, loss and violence - painted in neon Technicolor.

Figūras is a project of the artist Kaspars Groševs , Based in Latvia Kaspars is an Artist, Musician , Gallerist and Activist. He works in many mediums and has been creating in this way for many years . This record LP is a collection of early works by him , previously released on small editions of cassette tapes and now made available to buy in this small collection pressed and selected for vinyl by Kaspars Groševs & Michael Holland .

Two tracks feature other artists , Buer & Andromalius is a project with Gatis Ziema and Andrei Jastrebinski! Untitled (Feat Vivienne Griffin) features the multimedia artist Vivienne Griffin.

Covers are all hand-painted and handmade by Kaspars Groševs and are unique artworks made on recycled covers . Limited to 300 copies only .

More than 20 years after their debut, Witchcraft's seventh album, 'IDAG,' is an awaited full accounting of who they are as a band. Those who have clamored for the return to an earlier sound rooted in '70s classic progressive and heavy rock will delight to the strut of "Irreligious Flamboyant Flame" while the eight-minute opening title-track is the heaviest the band have ever sounded, and a succession of interspersed acoustic-based pieces helps create a vision of a new, soulfully folkish doom taking shape as they continue to move inexorably forward. Founding guitarist/vocalist, Magnus Pelander, says of 'IDAG': "This album will reap souls and destroy wicked minds. And perhaps mend a couple of broken ones." These enigmatic few words from the Swedish band's main songwriter give clues as to the songs' intentions; a reference dropped to Coven's 1969 album, 'Witchcraft Destroys Minds and Reaps Souls.' Coven also had a folkish, proto-doomed take at that point in their history, and that multifaceted nature has been a part of Witchcraft all along. On one level, Magnus is winkingly telling you it's a Witchcraft record. The actual meaning of that becomes clear when you hear the album and find out just how much 'a Witchcraft record' can encompass. The storyline of Witchcraft's growth, from Pelander's starting the band in Örebro in 2000 in the wake of his prior outfit Norrsken's disbanding. A generational landmark of a 2004 self-titled debut helped spark a retroist movement that has become its own subgenre, but Witchcraft never stopped growing. 2005's 'Firewood' and 2007's 'The Alchemist' introduced more progressive sounds, and five years later, the pointedly modern 'Legend' established in 2012 that they had moved beyond the analog worship they had been a part of pioneering within the contemporary heavy rock and doom scene. In 2016, the 2LP 'Nucleus' introduced fuller-toned doom, and 2020's 'Black Metal' diverged into moody acoustic minimalism familiar to some fans from Pelander's early solo work, but different from anything Witchcraft had done prior. 'IDAG,' then, is the tie that draws all of this - more than two decades of exploring and growth - together. Whatever they've done in the past and whatever they'll do in the future, 'IDAG' feels like a nexus for defining who and what Witchcraft are. Even crazier, that might be the point of the thing. JJ Koczan

More than 20 years after their debut, Witchcraft's seventh album, 'IDAG,' is an awaited full accounting of who they are as a band. Those who have clamored for the return to an earlier sound rooted in '70s classic progressive and heavy rock will delight to the strut of "Irreligious Flamboyant Flame" while the eight-minute opening title-track is the heaviest the band have ever sounded, and a succession of interspersed acoustic-based pieces helps create a vision of a new, soulfully folkish doom taking shape as they continue to move inexorably forward. Founding guitarist/vocalist, Magnus Pelander, says of 'IDAG': "This album will reap souls and destroy wicked minds. And perhaps mend a couple of broken ones." These enigmatic few words from the Swedish band's main songwriter give clues as to the songs' intentions; a reference dropped to Coven's 1969 album, 'Witchcraft Destroys Minds and Reaps Souls.' Coven also had a folkish, proto-doomed take at that point in their history, and that multifaceted nature has been a part of Witchcraft all along. On one level, Magnus is winkingly telling you it's a Witchcraft record. The actual meaning of that becomes clear when you hear the album and find out just how much 'a Witchcraft record' can encompass. The storyline of Witchcraft's growth, from Pelander's starting the band in Örebro in 2000 in the wake of his prior outfit Norrsken's disbanding. A generational landmark of a 2004 self-titled debut helped spark a retroist movement that has become its own subgenre, but Witchcraft never stopped growing. 2005's 'Firewood' and 2007's 'The Alchemist' introduced more progressive sounds, and five years later, the pointedly modern 'Legend' established in 2012 that they had moved beyond the analog worship they had been a part of pioneering within the contemporary heavy rock and doom scene. In 2016, the 2LP 'Nucleus' introduced fuller-toned doom, and 2020's 'Black Metal' diverged into moody acoustic minimalism familiar to some fans from Pelander's early solo work, but different from anything Witchcraft had done prior. 'IDAG,' then, is the tie that draws all of this - more than two decades of exploring and growth - together. Whatever they've done in the past and whatever they'll do in the future, 'IDAG' feels like a nexus for defining who and what Witchcraft are. Even crazier, that might be the point of the thing. JJ Koczan

Purple Vinyl, limited to 450 copies. More than 20 years after their debut, Witchcraft's seventh album, 'IDAG,' is an awaited full accounting of who they are as a band. Those who have clamored for the return to an earlier sound rooted in '70s classic progressive and heavy rock will delight to the strut of "Irreligious Flamboyant Flame" while the eight-minute opening title-track is the heaviest the band have ever sounded, and a succession of interspersed acoustic-based pieces helps create a vision of a new, soulfully folkish doom taking shape as they continue to move inexorably forward. Founding guitarist/vocalist, Magnus Pelander, says of 'IDAG': "This album will reap souls and destroy wicked minds. And perhaps mend a couple of broken ones." These enigmatic few words from the Swedish band's main songwriter give clues as to the songs' intentions; a reference dropped to Coven's 1969 album, 'Witchcraft Destroys Minds and Reaps Souls.' Coven also had a folkish, proto-doomed take at that point in their history, and that multifaceted nature has been a part of Witchcraft all along. On one level, Magnus is winkingly telling you it's a Witchcraft record. The actual meaning of that becomes clear when you hear the album and find out just how much 'a Witchcraft record' can encompass. The storyline of Witchcraft's growth, from Pelander's starting the band in Örebro in 2000 in the wake of his prior outfit Norrsken's disbanding. A generational landmark of a 2004 self-titled debut helped spark a retroist movement that has become its own subgenre, but Witchcraft never stopped growing. 2005's 'Firewood' and 2007's 'The Alchemist' introduced more progressive sounds, and five years later, the pointedly modern 'Legend' established in 2012 that they had moved beyond the analog worship they had been a part of pioneering within the contemporary heavy rock and doom scene. In 2016, the 2LP 'Nucleus' introduced fuller-toned doom, and 2020's 'Black Metal' diverged into moody acoustic minimalism familiar to some fans from Pelander's early solo work, but different from anything Witchcraft had done prior. 'IDAG,' then, is the tie that draws all of this - more than two decades of exploring and growth - together. Whatever they've done in the past and whatever they'll do in the future, 'IDAG' feels like a nexus for defining who and what Witchcraft are. Even crazier, that might be the point of the thing. JJ Koczan

Polish producer Newborn Jr. joins forces with the incredible vocalist Annjet for their highly anticipated debut full-length vinyl LP under the collective name Krush Klubb, set to be released through the renowned Bristol-based independent label, Shall Not Fade.

The Zone Out LP seamlessly blends the best of modern dance music, effortlessly merging the smooth, hypnotic rhythms of deep house with the frenetic energy of breaksy jungle cuts, all while showcasing the rich, captivating vocals of the talented Annjet. This dynamic collaboration not only highlights Newborn Jr.'s unparalleled production abilities but also elevates the musical landscape with Annjet's signature vocal style, which adds an emotive, immersive layer to each track.

With its intricate soundscapes and genre-defying approach, Zone Out stands as a testament to Krush Klubb's versatility and vision, offering a unique listening experience that crosses boundaries and defies expectations. The LP promises to be a perfect soundtrack for those who love to lose themselves in the rhythm of dance music, whether you're winding down or getting lost in the groove.

The Zone Out LP drops on Friday, 23rd May via Shall Not Fade, ready to leave an indelible mark on the dance music scene and introduce Krush Klubb as one of the most exciting new acts in the genre.

Trip-hop royalty Morcheeba make a blistering return with a stunning 11th studio album Escape The Chaos.

“This whole record is a process of trying to reconnect with what really matters. whether it’s what in your heart or with the world, putting your feet on grass and feeling the earth beneath you” says Ross Godfrey.

“For me, ‘We Live and Die’ is about my duration in the band and the music world and life in general,” Skye says of the lead single. “The lines become blurred after all this time. In a way, it’s a homage to the thirty years of being in Morcheeba which is 60% of my existence.”

Formed in London in 1995 the legendary band have extensively toured the globe, sold over 10 million albums worldwide and left their mark as one of the most influential acts of recent times. Releasing their acclaimed debut album Who Can You Trust? in 1996, the band have gone on to release a string of successful studio albums, including 1998’s platinum selling Big Calm, produced an album for Talking Heads’ David Byrne and produced soundtracks for Oscar-winning director Steven Soderbergh.

In their 30th year Morcheeba are as relevant as ever and are set to mark the celebration in style.

Vier ehemalige Mitglieder der heiß geliebten, aber leider aufgelösten finnischen Band GHOST BRIGADE kamen Ende 2020 in ihrer Heimatstadt Jyväskylä zu einem Gespräch zusammen. Das Gespräch entwickelte sich bald in eine unerwartete Richtung, die am Ende zur Geburt von CERESIAN VALOT führte. Mit mehreren Songwritern und zwei Sängern, die auf Finnisch singen, war Gitarrist und Hauptsongwriter Wille Naukkarinen voller Zuversicht, dass sich der Musikstil der neuen Band von ganz allein in eine neue Richtung entwickeln würde. Die Zeit gab ihm Recht. Der Sound des Debütalbums "Uumen" ("Tiefen") entpuppt sich als sehr dynamisch, vielschichtig und mit einer breiten Palette von Klängen und Ideen. Stilistisch verschmilzt das Album unter anderem Alternative, Rock, Progressive und verschiedene Metal-Genres. Die in finnischer Sprache geschriebenen Texte auf "Uumen" kreisen um das Thema "Unsicherheit". Obwohl das Album oft düster und melancholisch wirkt, sind die Texte keineswegs apokalyptisch, sondern sie bieten auch Hoffnung und ein Licht am Ende des Tunnels an - auch wenn das nicht unbedingt hell erstrahlt. Da die Finnen in ihren Reihen Songwriter, Grafiker, Produzenten, Mixing & Recording Engineers und sogar einen Mastering Engineer haben, ist es kaum verwunderlich, dass die Band einen ausgeprägten DIY-Ethos pflegt. Mit "Uumen" brechen CERESIAN VALOT zu einer aufregend neuen musikalischen Reise auf, die etwas Altes, etwas Neues, etwas Geborgtes, etwas Dunkles und ein goldenes Talent für Songwriting mit sich führt: Wer "Uumen" mit offenen Ohren hört, wird mit subtiler Schönheit belohnt.

Producer powerhouse duo Crate Classics release their electric debut album, Green Lanes. With a plethora of features from fresh talent to dance music veterans, Crate Classics are working with the likes of Pesolife, Liam Bailey, Bay-C, Jodian Natty, LA Salami, Omar+, Nia Chennai, Not3s, Cres, Joe Cain, Tills & Aphrah. Green Lanes brings an eclectic mix, from dancefloor bangers to sweet melodic bops, spanning the rich practices of Jungle, RnB, Afrobeats and Reggae.

This vinyl includes a sample of tracks from Green Lanes, remixes from the likes of Missing, Potential Badboy & Tyke, and 2 exclusive bonus tracks. Featuring an exclusive Congo Natty Remix of Crate Classics & Jodian Natty's 'Anything'.

Drone legends Earth, the Seattle group led by Dylan Carlson, ready their first release on Fire Records. Deluxe Ltd edition 'Dark Star' effect vinyl with matte and spot UV sleeve, DL card. Unreleased live recording taken from their show at London's KOKO in 2016. Includes live renditions of fan favourites 'The Bees Made Honey In The Lion's Skull' and 'High Command'. For fans of: Sunn O))), Sleep, Boris, OM, Spacemen 3, Witch, Hawkwind, Boris, Melvins. Seattle drone-rock titans Earth release their latest live document, WEM Dominator (Live in London NW1, 2016), an unrelenting display of the band's seismic force, recorded during their performance at London's KOKO in 2016. Sharing the bill with legendary heavyweights Neurosis, Earth delivered a set of hypnotic intensity, crushing volume, and towering, glacial beauty. For over three decades, Dylan Carlson and his ever-evolving ensemble have been crafting tectonic soundscapes that defy convention, forging a path between meditative drone and colossal doom-laden riffs. WEM Dominator is an album of mesmeric modal patterns, it's a recording that captures the trio's intricate, slowly evolving euphoria in a period when their experimentation swerved through endless possibilities. From the creeping grandeur of "The Bees Made Honey In The Lion's Skull" to the ominous crawl of "Even Hell Has Its Heroes," the album presents Earth at their most immersive and powerful. This record reasserts Earth's mastery of atmosphere and weight, where every note feels tectonic, and silence itself becomes an instrument of crushing tension. It is a hypnotic, stripped down sonic symphony embracing influences as wide ranging as the Velvet Underground, Terry Riley and La Monte Young, a visceral slow-motion reading of the original sound that inspired Sun O))) and the generation that followed. The lineup of this performance was Dylan Carson (guitar), Jodie Cox (baritone guitar) and Adrienne Davis (drums), it was recorded live at KOKO, London on November 7th 2016 and is mixed and mastered by Mell Dettmer at Studio Soli in Seattle.

Destiny of Illusion is a 24-track full length debut from Pretty V (aka. Voldy Moyo, v7backin2007, #Smokesito), a prolific artist from Wakefield, UK who has been frequently performing and releasing music & videos online for the past 9 years, building notoriety for his unique sound and prolific output and gaining support from artists such as MIKE & King Krule, both of which have brought Voldy out for many shows, and for collaborations.

The album will release on the 24th April 2025, along with a release show the same day at Ormside Projects.

The album is produced entirely by aloisius, a prolific artist & producer, as well as the founder of life is beautiful records). ‘Destiny of Illusion’ is a landmark album for both Pretty V & aloisius, being their first full-run vinyl release. The album will be available exclusively on Vinyl, Cassette & CD.

This album also holds additional historical significance being that it is the first official/ full-run vinyl release for life is beatiful records.

The first pressing of ‘Destiny of Illusion’ will be limited to 397 copies.

WOW. Daniel O'Sullivan's transcendent new album, Eros, is one of the greatest things we've ever heard. A simply stunning song cycle of hypnotic, experimental contemporary chamber music composed for a 14-piece ensemble. Combining minimalism, complex syncopation, detailed acoustic textures, weird intervals and samurai precision, this record will elegantly blow your mind. When Daniel first sent us this, he pitched it as “Liquid Swords meets Michael Nyman”. Trust us, he wasn't wrong. A "unique hybrid orchestral music", it presents a confluence of Daniel's longstanding fixations; indeed, there's elements of Nyman, Antonio Carlos Jobim, Magma, Aaron Copland and RZA. But this is wholly O'Sullivan's. Originally commissioned for the Sonoton Music Library in Munich, Eros now receives a deluxe vinyl release courtesy of Be With Records, bringing this meticulously crafted work to a wider audience. Limited to just 500 copies for the world, these are gonna fly.

An English composer and multi-instrumentalist, Daniel O'Sullivan’s career has been marked by versatility and innovation. In addition to his work with Sonoton, he has composed extensively for the legendary KPM music library, contributing to its storied legacy of production music. As a deep virtuoso and collaborator, O'Sullivan has also played in a number of influential projects, including Ulver, Sunn O))), This Is Not This Heat, Grumbling Fur and Miracle (with Steve Moore), leaving an indelible mark on the contemporary experimental music landscape.

O’Sullivan’s first foray into classically informed chamber music, Eros is a culmination of his long-standing fixations and expansive musical influences. The album features arrangements that are as detailed as they are emotionally resonant, showcasing his unparalleled ear for intervals and mastery of counterpoint. The music brims with complex rhythmic syncopation and a sensitivity to texture and space, resulting in a soundscape that is both intoxicating and dauntingly precise.

Recorded June 2023 and February 2024, in Brussels, London and Carmarthenshire, Wales, Eros features members of Echo Collective (Neil Leiter and Margaret Hermant), Thighpaulsandra (from seminal post-industrial band Coil), and jazz pioneer Oren Marshall. Daniel's sonic weapons of choice, in his own inimitable words, were "Big Bad Drum, Pee Anne Oh, Low End Brass, Willowy Winds & Samurai Strings." You get the picture. As a cyclical suite, this is a record that really needs to be heard in its entitreity, from start to finish, to truly appreciate the genius at work here.

A jaw-dropping statement of intent, the minimalist "Golden Verses" sets the tone with its complex cue which has your neck snapping right when it feels like it needs to. Listen and you'll understand. A syncopated tangle of sharp strings, crunchy bass, drums percussion and bright piano and mallets vie for position with French horn and woodwind melody in the most compelling and unexpected ways. Quite simply, it's one of the finest album openers I've ever heard. It's followed by the atmospheric rippling minimalism of "Lyre Lyre", a gorgeous gem with shimmering chimes, bright melody, human percussion and syncopated pizzicato strings. It kinda comes on like a less-abstract Boards Of Canada, bursting with typical wonderment. The piano and string-drenched "Dolorous Stroke" effortlessly builds its warm, pastoral orchestration with flowing piano arpeggio, steadfast drums, expressive string quartet, rich low brass, woodwind and lyrical flute. Just sublime.

The insistent frenetic propulsion of "Plain Paper" is utterly beguiling, featuring a determined string motif, urgent drums and percussion, driving low brass and breathless, energetic flute. The haunting, interweaving string arpeggios that propel "Grapes Draped" presents a claustrophobic minimalism for chaos and darkness, with growling low woodwind and brass, spiky harpsichord, skittering flutes and tight drums. Up next, "Xanix Annum" is a stately minimalist waltz with expressive lyrical string quartet and delicate woodwind, anchored by drums and percussion. "Painting Rose" is a bouncy stop-start track with angular syncopated strings and a piano pulse underneath bright harpsichord and flutes. "Rotunda Garden" presents ethereal textural minimalism for landscapes and reflection with flowing string arpeggios, warm, low woodwind drones, floating choir and cymbal swells. Closing out this extraordinary side of music, the glowing, flowing minimalism of "Flowry Orb" features urgent organ, piano and woodwind arpeggios, half-time drums with shimmering cymbals, a soaring, beautiful violin solo and hypnotic vocal chant.

Side 2 opens with "Theia Mania" a determinedly off-kilter, angular track featuring low wind, brass and drum stomp in dialogue with lively string trio, woodwind and solo horn. The light, airy minimalism of "Painting Percy" is built around an interplay of rhythmic motifs for piano, low brass, bassoon, fluttering flutes, urgent strings, drums and percussion whilst "For Archetypes" is a delicate, gently syncopated chamber cue for nostalgia, nature, reflection and moments of calm, with steady piano motif, intimate woodwind and French horn, and warm, graceful strings. The urgent Ars Memoriae is a propulsive march for progress, processes and industry, underpinned by driving tuba, with determined strings, resolute drums, and vivid, expressive flute, clarinet and French horn.

The syncopated energetic minimalism of "Mirrored Seven" presents layers of melodic and cyclical piano, drums, low brass, harp, flute and strings. "Pure Ornament" follows, a slowly evolving chamber cue with flowing clarinet, string and harp arpeggio, plodding tuba and percussion, fluttering flute and graceful, lyrical solos. Stunning! Up next, "Brave Boy" moves from its tender, warm, lullaby-like intro with lyrical flute, clarinet and strings before opening into a playful backend driven by a bouncy tuba riff and syncopated piano, woodwind, string trio, and drums and percussion. Rounding out this astonishing piece, "Waxen Waned" is a warm, pastoral chamber cue with light lyrical woodwind, tender French horn and subtly pulsing string trio.

The album's title is a reference to Plato’s conception of Eros, which is more than romantic or physical desire. It is a dynamic and creative force that drives individuals to seek perfection whether in art, relationships, philosophy or the pursuit of truth. Wholly appropriate, here, we think. When asked what his influences were in making this astounding record, he answered thusly: "Non-musical: Householding, Pythagoras, Goethe, Grail romances, Hermeticism, Doctrine of Signatures (Parcelsus, Bohme, Pliny), Eric Rohmer, John Stezaker, Yasujiro Ozu. Musical: Duke Ellington (late suites), Smile-era Brian, early RZA, Wagner (Parsifal Overture), Magma, Mancini, Axelrod, YMO, Hildegard, Nyman, Penguin Cafe Orchestra, Jobim (Stone Flower), Alessandro Alessandroni, Tavener, Moondog, Orthodox Music, Secular Music." That's some pretty deep shit. Makes you want to dive in, no?

Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. Truly, Eros is a work of extraordinary depth and sophistication. It invites listeners to immerse themselves in its intricate layers, to lose themselves in its hypnotic rhythms, and to marvel at the precision of its execution. With this release, O’Sullivan reaffirms his position as one of the most inventive and uncompromising voices in contemporary music. Do. Not. Sleep.

Weisheit, Disziplin und unbändige Kreativität prägen den smarten Electro-Soul von Ellen Beth Abdi. Die renommierte Livemusikerin wird mit ihrem Debütalbum auf dem eigenen Label zur überragenden Solovirtuosin. Poppige Synth-Sounds, sich langsam steigernde Backgroundklänge und feinfühlige Worte von kraftvoller und persönlicher Bedeutung: Manchesters am schlechtesten gehütetes, genreübergreifendes Multiinstrumentalisten-Geheimnis steigt aus dem Schatten ins Licht. Vor fast einem Jahrzehnt wurde ihr aussergewöhnliches Talent entdeckt, was zahlreiche Support-Slots für u.a. Lady Blackbird, Courtney Pine und Angelique Kidjo einleitete. Diese Live-Erfahrung fliesst nun in die Konzerte zur Feier des lang erwarteten Soloreleases von Ellen Beth Abdi ein.

- "Something of a masterclass." - Louder Than War

- "Sharp lyrical insight with a distinctive sonic identity." – Backseat Mafia

In the vibrant streets of Tembisa, South Africa, amidst the sprawling urbanity connecting Johannesburg and Pretoria, the story of Moskito began. Formed in 2001 by Mahlubi "Shadow" Radebe and the late Zwelakhe "Malemon" Mtshali, the group first emerged as a powerhouse of pantsula dancers. However, their undeniable passion for music soon led them down a new path_ one that would cement their place in kwaito history. Spending countless hours on the street corners of their township, where they were born and raised, Shadow and Malemon danced and sang with an infectious energy that attracted crowds. It wasn't long before the duo decided to channel their talents into a kwaito group, and after adding friends Patrick Lwane and Menzi Dlodlo, Moskito was born. (Pantsula dancing emerged in the 1950s among Black South Africans in townships and continually evolved until it became intertwined with kwaito music culture. The stylized, rapid foot movements and characteristic low-dancing became associated with kwaito as it took over South African urban culture into the early 2000s.) With limited resources, the group displayed immense creativity, recording demos using two cassette decks and instrumental tracks from other artists. They would rap and sing over an instrumental playing on one deck while the second deck records their performance. Their determination paid off when they submitted their demo to Tammy Music Publishers, who were captivated by Moskito's style. "Kwaito was the thing `in' at the time. If you did music you did kwaito. We wanted to fit in and actually it was easy," says Radebe. "We didn't have engineers in the group, so the first time in a real studio was with Percy and Thami to record Idolar." That same year, the group released their debut album, Idolar, under Tammy Music. The album was an undeniable success reaching gold status selling over 25,000 units and earning them a devoted fan base across South Africa and neighboring countries like Botswana, Swaziland, Namibia and Zimbabwe. Moskito collaborated with industry legends such as Chilly Mthiya Tshabalala, who was known for his work with Thiza and Spoke "H." They drew inspiration from Thami Mdluli a.k.a Professor Rhythm, who had dominated the disco scene back in the 80s and 90s. Mdluli helped with musical arrangements and executive produced the album and signed on producer-engineer Percy Mudau, while Shadow and Malemon took pride in composing most of their songs. Like many of the rising kwaito artists of the time, they didn't have music production or engineering backgrounds so they required support from engineers together their ideas down on tape. They were inspired from South African kwaito icons like Trompies, Mdu, Mandoza, and Arthur Mafokate, alongside international heavyweights like Snoop Doggy Dogg, Dr. Dre, 2Pac, and R. Kelly, Moskito created a sound that was uniquely theirs_a perfect blend of local flavor and global influence.

Colored vinyl repress of last Pinback album, originally released in 2012. On one hand, their fifth album, Information Retrieved, is the logical and accessible realization of a sound Pinback have been developing and refining for over a decade. However, that consistency that we've taken for granted is what makes Information Retrieved such a euphoric surprise; their finest and most fully realized album, a dozen years deep into a career that includes bona fide modern classics like "Good To Sea" and Summer In Abaddon. Simply put, this is better than we ever could have expected. They could have coasted on automatic pilot to another lauded album that likely would have made it onto plenty of year-end lists, but instead they shot the moon, and the result is a major triumph. The touchstones are still there: Zach Smith's stunningly unique bass guitar acrobatics driving both rhythm and melody in lock-step unison; the incredible immediacy of Rob Crow's voice that could make a phone book sound compelling; and the musical and lyrical interplay between the two of them that made Pinback so special in the first place. The difference now is their exquisite control over dynamics and a greater emotional resonance throughout. It's the most complete and soulful Pinback album by a fair distance, the finest moment in the career of a band whose unfettered brilliance we've come to count on, but will never again take for granted. For Fan of The xx, Deerhunter, Built To Spill, Broken Social Scene

In 2005, Headphones arrived as a seismic shift in David Bazan's already formidable canon- a collection of synth-driven confessions that push the boundaries of narrative songwriting. Stripped down to its barest essentials, the album finds Bazan and collaborators Tim Walsh and Frank Lenz constructing an audaciously raw soundscape: no guitars, just synthesizers, live drums, and Bazan's unmistakable vocals. Twenty years later, it remains a masterwork of emotional excavation and geopolitical reckoning, as relevant today as the day it was released. This 20th Anniversary edition, remastered by Christopher Colbert at National Freedom (The Walkmen, Richard Swift, Pedro the Lion), is housed in a gatefold jacket with expanded artwork by Grammy-nominated designer Jesse LeDoux, plus liner notes by writer and Belmont University Associate Professor David Dark. The self-titled album threads a delicate needle, simultaneously personal and prophetic. Songs like "Major Cities" tackle the macrocosm of American imperialism with clarity and anger, while tracks like "I Never Wanted You" unearth the raw wounds of interpersonal defeat. These are stories of inner and outer collapse, of bullies (both personal and political) wreaking havoc, yet rendered with humanity. Even in its darkest moments, though, Headphones pulses with the hope that honesty might light a way forward if only we'll bear witness to the truth. On its twentieth anniversary, Headphones feels more vital than ever. For those who've lived with it since 2005, this reissue is a chance to revisit an old wound, to press on it and see what's healed and what still aches. For new listeners, it's a chance to sit with something audacious and true an album that invites us to reckon with the ways we fail each other-and the ways we might still be good. Twenty years on, Headphones remains a rare album that doesn't just speak to you, but asks you to listen harder. + PROJECT FROM DAVID BAZAN OF PEDRO THE LION + DELUXE 20TH-ANNIVESARY REMASTERED REISSUE WITH BONUS TRACKS + DELUXE FIRST PRESSING ON LIMITED EDITION OPAQUE YELLOW VINYL LIMITED TO 750 COPIES + EXPANDED GATEFOLD ARTWORK BY GRAMMY-NOMINATED ARTIST JESSE LEDOUX + LINER NOTES BY DAVID DARK + REMASTERED BY CHRISTOPHER COLBERT (THE WALKMEN, RICHARD SWIFT, PEDRO THE LION) + LP INCLUDES BONUS 7" ON BLACK VINYL WITH TWO BONUS TRACKS

Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. "We were trying to find our own space," says Cinder of the formative period Camouflage Heart emerged from, amidst a move from Edinburgh to London and Cinder's evolving exploration of gender identity, well before culture at large was equipped to understand. With contemporary discourse we see that the project manifested her transgender ideas as visceral music. The guttural, feral sound marked a notably darker turn from The Freeze's sixyear run on the fringes of punk. Changing the project's name became vital, not just because they kept hearing the former was already taken, but the desire to embody the spiritual and sonic shift, "to uncover new pathways_to feminize it," she says. Cinder, with bandmates David Clancy and John Byrne, arrived at Cindytalk, a winking nod to Sindy, the British fashion doll rival to Barbie known then for its pull-string talking mechanism. "The goal was to have a more interesting narrative, more interesting dialogue. Music was ultimately my only way of talking to people. That was my conversation with the world, an abstracted conversation_an attempt to make some kind of tiny, tiny mark, if possible, you hope somebody will notice." Over the years, Cinder has heard from fans who did pick up on the signals and find refuge in Camouflage Heart. Camouflage Heart plays with tension and pace, from creeping to feverish to claustrophobic. The percussion moves between restless marches and barely-there pulses; for some parts, they scratched and hit a tin bath, among other objects. Guitar lines vibrate and stab as Cinder contorts her voice freely. She pulls poetry from a cerebral abyss, like "make the snake in your eye, pierce the camouflage heart" on the slow-droning centerpiece "The Spirit Behind the Circus Dream." In that register is raw power, both vulnerable and menacing, an ability to locate something deep and emotionally charged within. "I still remember that person who was way too intense for their own good," Cinder reflects. "I couldn't make a record like that now, certainly not vocally, while that anger hasn't dissipated; there's still a kind of warrior." For all the destruction and disintegration of Camouflage Heart, Cinder maintains the objective was never full-on fatalistic; these songs seek not to destroy but to poke and provoke, to transform and heal, to find cracks of light in a crumbling world. She points to the last lines of the opening track, "It's Luxury": "Don't look down," the lyric pines through static and rhythm. Cinder extrapolates, "I'm essentially saying, just keep fucking going. As time went on, for me, that falling became flying. Camouflage Heart is the beginning of believing in flight."

"Maintenant" (meaning: Now) defines it all: A snapshot in time, 13 piano pieces, completely improvised by Rico Friebe in one take! Three years after recording "The Silva Sessions", this new album serves as some kind of sequel to the improvisational and aesthetic characteristics - presenting a vast and meditative soundscape solely on the piano with some subtle electronic manoeuvring within. A truly unique moment that got captured here and a special album, you won't come along too often these days...

Brooklyn-based musician and producer Eliot Lipp has spent the last two decades crafting a signature sound that fuses hip-hop, synthwave, glitch, and electro. His breakthrough came in 2004 when Prefuse 73 released his debut album on Eastern Developments, a then-subsidiary of Warp Records. Since then, he has built an extensive discography across influential independent labels like Hefty Records, Mush Records, Pretty Lights Music, Young Heavy Souls, and his own Old Tacoma Records. Lipp's music, described by Billboard as "funky and experimental, crunchy and distorted, romantic, thoughtful, and all around playful," blends vintage and modern influences, with Kaltblut Magazine noting his inspiration from "sci-fi soundtracks and '70s and BDs funk" to create "weird, high-definition, melodic beats." His work has been featured by Bandcamp, Magnetic, XLR8R, and major radio stations like BBC Radio 6, KEXP, and KCRW. A seasoned performer, Lipp has toured extensively for over 15 years, playing in cities like New York, Los Angeles, Seattle, and Denver, as well as major festivals such as Electric Forest, Forecastle, and SXSW. With a career rooted in both classic beat-making and forward-thinking electronic production, Eliot Lipp remains a vital force in the independent music scene.

On his first release with Bastard Jazz, veteran Brooklyn producer Eliot Lipp delivers Kona, a bright blend of guitar samples, breakbeats, and his signature Korg MS-20 synth lines, evoking the feeling of kicking back on a beach at sunset. The beat hits hard from the start, but as the track unfolds, it eases into a more laid-back, summery vibe. Lipp's signature fusion of retro synth textures and crisp modern rhythms shines through, capturing an effortless, sun-soaked energy perfect for a night drive or a rooftop party. The B-side, Silver Bass, takes a different approach—starting with live drums, electric bass, and a groovy guitar and piano arrangement before morphing into a futuristic, digitally sequenced version of itself. With dueling saxophone and Moog melodies weaving between organic and electronic elements, the track transforms into a breezy electro jam that feels both nostalgic and forward-thinking, solidifying Lipp's ability to craft timeless, genre-blending sounds.

Ambient explorers SWIMS unpeel another heady debut, with the maiden effort by Korean artist Soo Kyung Kim, also known as soo:k. The curtain raises on Orchadia with an elysian glow: electro-acoustic compositions painting a golden topography of impossible fruit and uncanny astronomy.

soo:k's utopic brushwork finds obvious comparisons in the work of Hiroshi Yoshimura, and his meditations on the glacial pace of hidden, verdant spaces. Frida Kahlo's portraits of everyday life, intertwined with pain and magic symbology, also resonate in the album's exploration of fleeting moments.

Dissonance and experimentation take hold as the record progresses, Soo's Edenic vision creaking open to reveal ripe, fetid spaces between ribs of earth. Recommended if you like Ulla, Kara-Lis Coverdale, Visible Cloaks, Perila...

The second release on Afalinas sees Olekhar channeling house textures through tech-funk rhythms, accented by acid and electro influences. A fresh take for the dancefloor.

Planet E looks to the heart of Detroit’s club culture for the debut appearance on the label from Motor City mainstay, Mister Joshooa. A DJ and sound engineer closely intertwined with the city’s music scene, regularly found behind the decks at clubs like TV Lounge and Lincoln Factory and having previously appeared on Carl Craig’s celebrated Detroit Love compilation, ‘Settle Down’ introduces four tracks that cement Mister Joshooa’s lucid, far-out take on house.

Lead track ‘Settle Down’ distills the energies and influence of the scene into a rubber-jointed, rolling introduction that vibrates with energy and anticipation, nailing a bassline that could run for hours and injecting trippy effects, live percussion and out-there vocals drawing in dancers. ‘Snake Oil’ meanwhile strips things way back, squeezing plenty of juice for the floor from a tunnelling, lightly psychedelic arrangement, offering bang-for-buck deepness that’s no scam.

‘Stop Me’ continues to drive Mister Joshooa’s productions in even wonkier, even mysterious directions, its oscillating crawl and hypnotic melody primed to create a heady atmosphere, giving surreal or even sinister, depending on each dancer’s perspective. Finally, ‘Step Up’ offers the roughest, readiest ride to close, where classic drum machine programming reverberates against throbbing sonics and all manner of analogue weirdness, transforming into an outsider techno stepper from the darker side.

The Ramones were punks before punk rock was even invented. With their catchy, sing-along tunes, iconic hair styles and outfits, Joey, Dee Dee, Johnny and Tommy rewrote rock history and are now, as part of the first wave of US punk, firmly considered part of the subcultural world heritage. In the DUB-cultural world, on the other hand, their footprint has been pretty slim, particularly if one considers their stomping, three-chord songs, instantly recognizable chants (“Gabba gabba hey!”) and laconic humour. There are a few reggae and Latin versions of their songs online, but never before have the Ramones been honoured with an entire album in early reggae style…until now, bang on time for the band's 50th anniversary in 2024. The label Echo Beach, a bit of a specialist for missions such as these with a string of releases including “Bad Brains in Dub”, “Dubby Stardust”, got together with André Meyer (production, bass) and Manougazou (production, guitar). Both were part of the 2008 Echo Beach New Wave/Dub project DubXanne and were involved in the production and subsequent live shows. Also back in the team is keyboarder and DubXanne mastermind Guido Craveiro, who plays Hammond organ and piano on half of the tracks. The other two additions to the core team are singer and all-round instrumentalist Sebastian Sturm and drummer Raul Pfeffer. Together they homed in on the 11 most iconic Ramones three-minute-singalongs, including "Blitzkrieg Bop", "I Wanna Be Sedated", "Pet Sematary" and "Rock'n'Roll Highschool", and treated them to a reggae make-over. The whole process was kicked off by a slightly off-beat question (reggae music does that to you): What if Joey, Johnny, Tommy and Dee Dee had gotten together not in NYC, but in Kingston? And then stepped up to the mic alongside local singing and deejay greats? In musical terms the answer is surprisingly plausible and the line-up is sensational, even for a label like Echo Beach with its unrivalled connections. From up-and-coming youngsters to living legends, everyone is included, albeit with a focus on the elder statemen and stateswomen: the vast majority of the guests are over 60 and look back on deeply impressive careers! The artists come from Jamaica, the USA, the UK and Germany. All contributed one or two songs, and all of them tackle the songs in pairs with infectiously good humour, transforming legendary punk rock bangers into unpredictable dub tracks. Ramones’ classics such as "Blitzkrieg Bop" with its trademark battle cry "Hey! Ho! Let's Go!", "Sheena Is A Punkrocker" and "The KKK Took My Baby Away" are slowed down and underpinned with roots and rocksteady riddims. It almost goes without saying that the lyrics have been adapted to everyday Jamaican life with a great deal of fun and creativity. And amidst all the icons of early reggae, the Ramones also make an appearance: in the opening track "Pinhead", for example, we learn that the Ramones did actually listen to reggae and had even been planning a reggae album. Features guest vocals from Susan Cadogan, Ranking Joe, Ranking Ann, Prince Alla, Welton Irie, U Brown, Earl Sixteen, Dennis Alcapone and more

We are pleased to present again this wonderful and highly sought-after album, born from a promotional campaign by the U.S. Army to encourage recruitment. The recording perfectly captures the spirit of young America through songs written by Sly Stone, Curtis Mayfield, Funkadelic, and Burt Bacharach (via Isaac Hayes, of course). High-level soul and funk performed by brilliant anonymous musicians. Virtually impossible to find in its original edition, we are now reissuing it once again thanks to a collaboration with Now Again. Pressed on 180g vinyl. Often, the most prized records by collectors hold unexpected stories. When they also feature incredibly high musical quality and only a few original copies are available, they become the holy grails of collecting. This is the case with this album, recorded by American soldiers stationed in Germany in the early 70s. During the Vietnam War, the U.S. Army organized a band competition among its soldiers. The winners would record a promotional album that would be distributed for free to encourage enlistment during such a turbulent time. The result was a double LP shared between the bands SOAP and East of Underground. Although East of Underground's repertoire consists of covers of soul and funk hits, the quality is surprisingly high: raw guitars, crushing drums, brilliant vocal harmonies... The result perfectly captures the spirit of young America through songs written by Sly Stone, Curtis Mayfield, Funkadelic, and Burt Bacharach (via Isaac Hayes, of course). High-level soul and funk performed by anonymous musicians whose final fate has yet to be confirmed. When the label Now Again tried to reconstruct the story of East of Underground, they only managed to contact one of its members after digging through documents in the New York Library and collaborating with the U.S. Army. We are now pleased to present this wonderful and highly sought-after album once again, a surprising case where the covers rival the originals, creating a unique recording that justifies its immense appeal among collectors.

Abaeté, a vocal trio from Bahia, made a remarkable debut with masterfully crafted jazz-funk sambas, at a time when Bahian musicians were true masters of the genre. There"s virtually no information about the band, apart from the music itself, which seems to be limitedto two releases: a single and that much-loved 1977 self- titled album, now a cult classic. A collection of killer tunes, funky samba, synthesizer sounds and free rhythms with a North Brazilian flavour. The band also wrote songs for Clara Nunes and Elza Soares in the 70s. Mixed by Waldir Lombardo Pinheiro (Tom Ze, Zeca Do Trombone...).

Marseille's own Durite, label helmed by FaF, returns with its second Various Artists compilation, diving deep into a two-part sonic journey. One side taps into the hypnotic rhythms and rich textures influenced by Middle East sonorities, while the other ventures into Asia, blending psychedelic Japanese & Chinese samples with a heady, trippy vibe.

On the roster: a trio of French talents — Crane de Poule, Blinkduus Dischetto, and Pagenty — plus a standout contribution from Italian producer Nativo, whose infectious grooves just keep getting sharper.

Release Copy:
J. Wiltshire returns to Super Hexagon with moon rings, a follow-up to 2023’s sun link. This release moves into deeper, late-night territories, blending his distinct melodies, immersive soundscapes, and textural ambient techno.

Written and produced by Jacob Wiltshire
Mastered by Andy Miles
Design by Joe Gilmore
© + ℗ Super Hexagon 2025
© Copyright Super Hexagon

About J. Wiltshire:

Jacob Wiltshire has been releasing music and spearheading the Super Hexagon label and event series since 2015 - starting with the collective’s early showcases in Leeds and through to recent releases from Christoph de Babalon and Isabassi. ’moon rings’ marks his return to the label for his fourth solo endeavor into the long play format, and is a spiritual successor to 2023’s ‘sun link’.

Der Kölner Multiinstrumentalist Roman Biewer, besser bekannt als Disso!ver, legt mit "Die völlige Abwesenheit von Punk" sein zweites Studioalbum vor. Biewer bedient sich stets verschiedenster Einflüsse und zitiert in seiner Musik Einflüsse aus den Genres Krautrock bzw. Neokraut, Indierock, Hamburger Schule und New Wave. "Die völlige Abwesenheit von Punk" entstand zwischen den Jahren 2020 und 2024. Abgesehen von Schlagzeugspuren, die Jan Philipp Janzen, bekannt von Die Sterne, Urlaub in Polen, Von Spar und Dumbo Tracks, eingespielt hat, und dem Hauptgesang in "Die Antinatale", der von Tobias Ortmanns von Komplizen Der Spielregeln stammt, hat Biewer wieder alles arrangiert, alle übrigen Instrumente aufgenommen, gesungen und die Songs vorproduziert. Info-Text: deutsch / englisch (Kurz und knackig Interesse für das Produkt wecken! Max. 10-15 Zeilen! Keine Bio! Bitte als unformatierten Fließtext!)Der Kölner Multiinstrumentalist Roman Biewer, besser bekannt als Disso!ver, legt mit "Die völlige Abwesenheit von Punk" sein zweites Studioalbum vor. Biewer bedient sich stets verschiedenster Einflüsse und zitiert in seiner Musik Einflüsse aus den Genres Krautrock bzw. Neokraut, Indierock, Hamburger Schule und New Wave. "Die völlige Abwesenheit von Punk" entstand zwischen den Jahren 2020 und 2024. Abgesehen von Schlagzeugspuren, die Jan Philipp Janzen, bekannt von Die Sterne, Urlaub in Polen, Von Spar und Dumbo Tracks, eingespielt hat, und dem Hauptgesang in "Die Antinatale", der von Tobias Ortmanns von Komplizen Der Spielregeln stammt, hat Biewer wieder alles arrangiert, alle übrigen Instrumente aufgenommen, gesungen und die Songs vorproduziert. //

4-coloured marbled vinyl. DL-Card. Limited to 300 copies. Chakra Vimana's album is the debut collaboration of spoken word artist Shane Beck known as (The Last American Poet) from Astral Magic, Talking Clouds, Language of The Moon & more, Mark Cook from Herd of Instinct, Liquid Sound Company, The Forever Moment & more, Santtu Laakso from Dark Sun & Astral Magic. These three create a sound that delves deeply into different forms of space and prog rock with heavy influences of Porcupine Tree, Nik Turner, King Crimson, Bill Laswell, and Tangerine Dream.

Lately, if you blink you may miss Goose fly by. Attributing much of their success to a dedicated and exponentially expanding fan base, steady creative output, and a collective commitment to improvement, the band is now universally recognized as a premier musical act nationwide. Dripfield, Goose's forthcoming studio offering, is a tale of introspection, carefully dissecting the details of the journey. Produced and engineered by D. James Goodwin at The ISOKON in Woodstock, NY, Dripfield is the band's first full-length project completed exclusively with an executive producer. Known for his unconventional recording style and eclectic equipment collection, Goodwin guided Goose through an entirely new process of album creation. Undoubtedly the product of multiple sold out concerts and consistent recording and songwriting, Dripfield is anchored by the theme of balance. Fittingly, the project features a mix of unheard originals and re-imagined catalog staples.

Recently appearing alongside Ibrahim Maalouf on the show “Improbox” (TSF Jazz), or as the opening act for Vulfpeck at Jazz à Vienne 2024, Sampling is Beautiful Trio is made up of: Zajazza on turntables and samplers (produced for Gaël Faye, HomeboySandman...), Yacha Berdah on trumpet and bass (Grand Corps Malade, Ibrahim Maalouf...), Japhet Boristhène on drums (Saïan Supa Crew, Chassol, Shibuuya).

Sampling Is Beautiful is: “A trio, a collective, a vibe, a freedom, ...”
These are the words of the artist Kaynixe in the introduction to this record.
Each “captured” sample is highlighted, cherished, reversed, modified… and finally used as a melodic or rhythmic basis to construct a new piece. With a certain black magic or piracy, this first album is a photograph of the Trio's musical moment, filled with homages to sampled composers, nods to Jazz and film music.
Yacha, Japhet and Zajazza, surrounded by many talented artists, share here this colorful musical picture of samples and each person's journey.

Bea Elmy Martin hat sich schnell zu einer der überzeugendsten Stimmen des britischen Alternative-Pop entwickelt, die Musik, bildende Kunst und Performance nahtlos miteinander verbindet und seit ihrer Debütsingle "Blue Escape" 2021 viel Kritikerlob erntet. Zwei Jahre lang arbeitete sie gemeinsam mit ihrem Partner Dominick J Goldsmith akribisch an dem Debütalbum "Under The Yew", einem intimen, atmosphärischen Statement künstlerischer Integrität. Ihre Bühnenpräsenz ist ebenso beeindruckend, ob auf der Rabbit-Hole-Bühne in Glastonbury oder als Begleitung von HÆLOS als Vorgruppe von Depeche Mode auf europaweiter Stadiontour. Beas Debüt-LP erscheint als Zweiteiler, Vol.1 kommt im Mai im umfangreichen Gatefold mit Platz für Vol.2, das sechs Monate später folgt.

– „Bea verbindet Soul-Elemente mit zeitgenössischem Pop zu einem Hybrid-Mix, der einen sofort in süße Ekstase versetzt.“ – Wonderland Magazine

– „Die Art und Weise, wie sie die Energie um ihren ruhigen Gesang herum aufbaut, zeugt von wahrem Verständnis und Talent.“ – Jack Saunders, BBC Radio 1

Das bisherige Schaffen von Oskar Rice und Adam Jackson beschränkte sich auf eine Debüt-EP mitten im Lockdown und einige weitere Singles. Doch das ändert sich jetzt mit ihrem Debütalbum: Das charmante Duo feiert einen bedeutenden Schritt nach vorne und eine brillante Essenz all dessen, was die ersten Releases so dramatisch machte. Das Album erzählt die Geschichte eines turbulenten Jahres voller Leben, Liebe (und dessen Ende). Die Songs sind das Tagebuch 12 ereignisreicher Monate. "we're having a barn dance" übertrifft die Ziele des Duos. Die LP ist sowohl in der Produktion als auch im Songwritering offenkundig ambitioniert.

Windy City collective Future Rootz are all about mixing up worldly electronic sounds, Latin, tropical bass and global jazz. This second volume in their new series does just that with two expressive remixes of iconic Afro-Colombian tracks. On Side A, Sound Culture delivers a modern take on Son Palenque's legendary 'A Pila el Arroz,' which was originally composed by Justo Valdez for Palenque Records. He infuses it with fresh and bubbly bass and hypnotic vocal chants. On side-B, Afroqbano reimagines 'Tropical Scenes' by adding a vibrant, rhythm-heavy twist to the original that sympathetically blends traditional Afro-Colombian sounds with electronic influences into a wiggling bit of irresistible and sunny global fusion.

Something different from Causa Sui. While Causa Sui have always had one foot in heavy psychedelic rock, they've had the other one deep in a wide variety of esoteric styles. On this new double LP set, that other dimension of the band is being explored full-scale. "Szabodelico" paints with a colourful palette, both compositionally and sonically - digging deep into an assortment of cultures, eras and sounds with a true crate-digger mindset. Throughout their 15 year life-span Causa Sui has always been about seeking out new directions, exploring the past and the present in a way that's unique at each step of their subtle progression - forging new paths into an existing map. "Szabodelico" feels like discovering a small room under the stairs of your own house: familiar, yet new and exciting. Their latest vision is an elegantly zoned-out version of itself: a turn inward. Anti-bombastic, yet rich with ecstatic harmonics and dynamics. The band stringed together a long series of sessions in 2019 and early 2020 in their studio in Odense, often prioritizing playful first takes and good vibes rather than clinical perfection.Sparsely dubbed and mixed with a natural, full bodied flavour by Jonas Munk during the summer of 2020, each track has its own aesthetic. There's no simple equation to sum up the 13 individual parts of the album, but as a whole it creates an entity that's as complete as each of its parts. From the windblown opener "Echoes of Light", to the closing slow-motion epic "Merging Waters" you'll find yourself asking where did the time go? The answer of course is: Szabodelico.