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For us, this is a top five all time tune in the soul reggae canon and maybe Leroy Smart's best ever. An early one for Mr. Smart, this is the first cut of one of his most classic tunes, recorded in 1972 for producer Gussie Clarke and originally released on the early Tuff Gong label via Wailers' associate Alan 'Skill' Cole. If you're like me and you've listened to the original Tuff Gong 45 a million times, you may have noticed that the dub version was mixed from a different vocal take, with some lyrics not on the A side coming in to the dub mix. This alternate vocal take is also the one partially used for the 1979 remix cut on a heavily overdubbed rhythm. We had always desired to hear this other take in its original form, so naturally then we had to get the great Mr. Clarke to dig this one out of his archives to hear it as it should be. In comparison to the original released cut, it's a more spare take sans the opening harmonizing, and the lyrical changes give the tune a more pleading and less stubbornly declarative mood. For the B-side version we have an alternate mix again, which is actually the one Big Youth deejays over for his tune "Pride & Joy Rock." Consider this release a prime example of DKR's "never too much of a great thing" philosophy.

Remix Edition

"Don't Run From The Fire" is Minuit Machine's 5th release. It's a four-track EP. One year and a half after coming back from a one-year hiatus, Minuit Machine keeps on transforming and evolving. From dark electronic, to EBM, the duo reasserts its hybrid identity, always dark wave, but with strong touches of techno and EBM. Don't Run From The Fire talks fear and desire. How love, and feelings in general affect us all as human beings. How we try to run away when we feel in danger. We run away, or we stand still, ready to attack, like a scorpio. We hide how much we're afraid, how much we'd like to hide. It's about control, trying to take control when everything is out of control. When the world around us is chaotic and dangerous. Don't Run From The Fire is about fighting, for who we are, who we want to become. It's about understanding what we truly want and embrace it. Don’t Run From The Fire – Remix Edition is a new version of the original EP with 4 additional remixes from Rein, Parallx, Crystal Geometry and Maud Geffray.

As the nights get colder and longer, we often lose touch with those around us. Nights when loneliness takes hold of us as our only dependable friend, and our imagination becomes the universe; forever questioning the existence of our own reality, while perpetually stuck in an emotional limbo.. Delve into your thoughts with ‘Lonely Days’, the latest Lofi Girl compilation featuring 31 artists worldwide. Soft beats, melancholic pianos, lulling guitars and a range of other instruments are knitted together like a warm blanket to bring ease and comfort for as long as you need. Focus on the ingressing dawn light, close your eyes, and breathe in - this feeling is only temporary, and better days are on their way.

Canadian bowed guitarist and multi-instrumentalist C. Diab announces his fifth album Imerro, out February 16th, and presents the trip-infused lead single 'Lunar Barge'.

(Real name) Caton Diab creates soundscapes that evoke the spectacular wilderness of his childhood home in northern Vancouver Island. Incorporating experimental textures, folk overtones and tape manipulations, C. Diab uniquely finds the unseen spaces in-between, and fittingly dubs his creations "post-classical grunge". Imerro explores new sonic realms and is the culmination of a sound world that Diab has built up since the critically acclaimed 'No Perfect Wave' (2016, Injazero) and subsequent releases 'Exit Rumination' (2018), 'White Whale' (2020) and 'In Love & Fracture' (2021). The Wire calls it "ambient music in the best sense - music for living, which can be both non-invasive and immersive...epic"

Imerro was recorded in late July and August of 2021 at Risque Disque Studio in Cedar, BC, during the summer's unprecedented second "heat dome", which saw temperatures soaring to over 40 degrees. Recorded with regular collaborator and engineer Jonathan Paul Stewart, the pair journeyed by boat to the studio to a place with minimal distraction with a plan of "simple ecstatic improvisation." Diab explains: "I wanted to place myself in a space for creation with little thematic pretence, with the belief that music 'shows its face' as you move along. I would pick up an instrument, whether I had experience playing it or not, and make a sound. If it wanted to be played, it would play."

Ltd edition sky blue vinyl, inc download.

Up In Her Room are delighted to bring you the latest offering from US psych heads White Shape, in conjunction with US label Little Cloud Records!

Hailing from Rockford Illinois, White Shape are a reverb-soaked experimental heavy psychedelic rock band that are able to create sublime ethereal soundscapes. Previous releases include the widely renowned 2019’s ‘Perfect Dark’ where the band deliver a heady and physical ride of tidal proportions. Whether you want cerebral psychedelic, body moving rhythm, or hard-hitting riffs White Shape caters to your every need. The record is an anthem to their collective vision, spreading out to showcase the various talents and specialties of each band member.

With the departure of two of the founding members through covid, Josh Weidman and Alyssa Hall set the sails once again to the wind and from the tumult of those incomparable times, they brought into existence their latest album, “Through the Lupine”. It is decidedly White Shape, with its brooding atmospheres, Hall’s iconic vocals that float and expand until they fill every physical space, and the classic narrative architecture that invites you to enter the music and with it create your own inner worlds. You can hear these in every track, and particularly in “Draped Urns.” 

But as it has been said, no one came through those times unscathed, untouched. Within the quintessential White Shape sound there is something else, something new. It can be heard in the previously releases 1st single from the album “Knives Down”; a shift in the barometric pressure, a sea change both profound and subtle. It’s a defiance, a refusal to go quietly into that good night, but with undercurrents of something else, something not yet found in the band’s prior work. Is it optimism? Hope? Or simply the resignation to create for the sake of creating. 

The true value of Through the Lupine is that it provides the listener with the space to craft their own interpretation. For the White Shape fan, there is everything you love and want. There’s just more, and it’s different, evolved. For the initiate, there is the beginning. The introduction to the next understanding of what it means to experience music. Long live White Shape!

Kindred spirits Passepartout Duo and Inoyama Land embody the essence of play - charting a new chapter and reinvigorating the environmental music and electronic landscape.

Passepartout Duo is formed of Nicoletta Favari (IT) and Christopher Salvito (IT/US), who since 2015 have been on a continuous journey travelling the world's corners, engaged in a creative process they term "slow music". Having been guests of many notable artist residencies and with live performances in cultural spaces and institutions, their evocative music escapes categorisation. With no fixed abode their musical pilgrimage brought them to Japan first in 2019, which prompted a deep connection to Kanky? Ongaku 'environmental music', a genre in which Inoyama Land is often associated with, soundtracking the duo's first immersive experience. In 2023 the duo revisited Japan and set out to reconnect in particular with the music of Inoyama Land, performed by Makoto Inoue and Yasushi Yamashita. The highly revered album 'Danzindan-Pojidon' (1983) produced by Haruomi Hosono amongst other well publicized and acclaimed reissues (Light in The Attic Records' Grammy-nominated compilation 'Kanky? Ongaku'), produced a global resurgence and admiration of the environmental music movement. Nicoletta took the lead to seek out Inoyama Land and in making contact successfully their intrigue and eagerness to meet was warmly reciprocated, and the group scheduled to meet in the form of a spontaneous improvisation session. "We're deeply concerned with what it means to be a duo, and what it means for people to connect through music."

Radio Yugawara is a unique one-off transmission from a specific place and point in time, unlikely to ever occur again. The respective duo's approach can really be described as "tuning in", a tuning into each other, to themselves, and to the surrounding nature of Yugawara. Like waves that travel off-world, sounds travel through the universe and can be lost forever if we don't seek them out. In finding a harmonic affinity within their instruments and a spiritual kinship in their interwoven performance, Radio Yugawara at its core is an interpretation of feeling, of close human interaction and the true essence of discovery.

"The album is both a transmission from a location, but also a tuning into the surroundings and to each other. Music in this kind of ephemeral moment is much less about active creation and more about discovering something which is already there in the air."

Heavily supported by Flight for years, we’re extremely excited to at last welcome the inimitable Quartz to p:m, who serves up a sublime 4-tracker for our 10th single. Deeper and more emotionally reflective than previous Quartz releases, this is transcendental music that takes you to outer space and beyond…

Tracklist:
A1. W.Y.N: cosmic pads, jungle-y breaks, and a colossal bassline evoke images of Jupiter and molten lava, while a seductive vocal riff you’ll hum for days weaves in and out. A dance floor favourite.

A2. Taking Me Down: tight rolling beats, sparkly vox, filtered fx, and bass snarls sound like a tug of war between Venus and Mars. Straight up D&B produced alongside Quartz’s childhood friend, Pennygiles.

B1. Trauma Response: diving further into Techno- and Autonomic-inspired territory, this title track is best described by Paul Woolford aka Special Request “Man this tune is f***ing nuts. Reminds me of Black Dog and half of Detroit but through our UK lens, but totally NOW.”

B2. What Is Real Love: an orchestral intro replete with timpani and violins gives way to the big question - what is real love? - almighty bass weight, and a healing, warm golden sun feel. Simply majestic.

Many of the greatest artists of all time found inspiration in their dreams... and pdqb is known to be an absolute pro when it comes to creatively exploiting the REM cycles.

Recently, for example, he dreamed of Gunnar, who had witnessed the rise and fall of electronic dance music, which had once held simple-minded creatures in its thrall. The beats had a peculiar effect on them, drawing them into euphoric trances. But Gunnar, allergic to its hypnotic frequencies, stood apart, unaffected. However, eventually, in a hidden enclave in the highlands of Reykjavík, he met Dr. Amara El-Amin, a neuroscientist fascinated by his unique immunity. Together, they discovered that Gunnar's resistance was a gift, offering insights into human consciousness and the power of music. With this knowledge, Gunnar inspired a global movement celebrating frequencies that resonate...differently. Though EDM had become a relic, Gunnar Oliasson remained a legend - a bad taste survivor who embraced a symphony of pure electrical potential, a language of circuits and oscillations beyond sound.

He woke with a jolt, the phantom music still echoing in his mind. He scribbled furiously, equations and diagrams mixing with strange, abstract notations. The dream, he knew, was a glimpse into a world where his inventions would dance, not just function.

For Synaptic Cliffs, it is an extraordinary honor to be able to offer you, dear listeners, the soundtrack of pdqb's world-changing dream: Four beautiful genre-defining Electrocognition tracks, embracing the depths of the human wetware. And three jaw-dropping sonic remodels from a human-like being called The Exaltics.

With French Lessons, Jeff The Fool delivers a dazzling display of musical diversity, exploring a myriad of styles and influences. From the melancholic rain of Paris to the warm rays of the Californian sun, each track showcases remarkable technical precision and infectious energy.


Set for release in 2025, this album stands out with its array of international guest artists such as Fleur de Mur, Oden & Fatzo, Mangabey, and Phat Kat. It brings together singers and rappers from Lagos, Detroit, and Atlanta, infusing the work with a unique cosmopolitan dimension. On compositions imbued with French accents, these artists lend their voices to traverse house, hip-hop, jungle, trap, and afro-soul. French Lessons is a true ode to innovation, illustrating Jeff The Fool’s determination to push genre boundaries and reinvent himself alongside talented collaborators. This album pays tribute to the electronic music scene while asserting his unique artistic identity.


Here, Jeff The Fool continues his creative journey, marked by a subtle blend of underground house sounds and more accessible grooves. Since his notable debut with the Pay Your House EP in 2018, he has consistently expanded the horizons of house music, skillfully combining soulful samples and deep rhythms, crafting tracks designed for the dance floor.
Building on the success of his 2022 album Russian Dolls, released under Nowadays Records and amassing millions of streams, Jeff The Fool continues to captivate house music purists while drawing in a broader audience. His live performances, intense and eclectic, blending house, techno, disco, and electro, have taken him to international stages, showcasing the breadth and richness of his talent.

Teal’s debut LP, Original Watercolour, is an album that feels like a canvas come to life. A sonic blend of street-soul, digi-dub, and downtempo. Original Watercolour explores the complexities of love, oneness, and intuition — themes that resonate deeply within the context of the history women have shared with what was once known as the “ladies’ medium.”

The bi-coastal family trio—Ashleigh and Melissa Ball, better known as the Ball Sisters, alongside producer N1_SOUND—bring a fresh, genre-defying sound to the table with their latest 6-track album. Running just under 30 minutes, this immersive collection weaves together skipping beats, addictive bass lines, three-dimensional flute textures & emotional vocal melodies. This musical portrait is as ethereal as it is powerful, inviting the listener to get lost in its depths while celebrating the beauty of self-expression.

The opening track, “Original Watercolour,” takes you on a psychedelic trip-hop journey. From the first reverberous snare hit, you’re whisked away to a sonic wetland — lush and euphoric. The soft yet poignant soundscapes set the tone for the album, inviting us into a world where the boundaries between earth and music, reality and imagination, automatically seem to blur.

“Locked In 2 Love” offers a boogie-fueled bassline that pushes Teal into dance-floor territory with soaring flutes and rhythmic intricacies that make it impossible not to move — it’s a track that exemplifies the magic of Teal’s ability to craft both intimate and expansive musical landscapes. And then, there’s the hypnotic flow of “One In The Same,” where stacked vocal harmonies and mantra-esque lyrics transport you to a place that could easily be mistaken for a lost Soulquarians demo. It’s gentle yet unrelenting in its depth.

The second side of the album opens with “Sleep on It,” a track that immediately grabs attention with its dancehall-driven rhythm. Ashleigh Ball's vocals set the stage for a song that’s both introspective and emotionally charged, yet unmistakably rooted in groove. The phased-out bassline creates an almost hypnotic atmosphere. Pulling the listener into a mood of contemplation—matching the restless, sleepless night that Ball describes. As the song progresses, this groove builds in intensity, culminating in an explosive ending that mirrors the emotional release of a long-held frustration.

Original Watercolour is more than just an album — it’s a meditation on the interconnectedness of life and art. “Frog Kingdom,” the longest and only instrumental track creates a contemplative space that builds upon the themes introduced earlier. It feels like a sequel to their earlier work, Frog Legacy from their debut Bluish Green 2024 12”, expanding on the familiar sound with even more complex layers.

Yet the real emotional power of the record lies in its closing track, “Can’t Shake the Feeling.” Simple in structure but profound in impact, this song captures a deep yearning and understanding — that everything, from the ecosystems we inhabit to the relationships we nurture and the art we create, is fundamentally interconnected. As the track crescendos in a falsetto peak, it becomes clear that the album is a reflection of both the world around us and the personal journey each member of the band has embarked upon to get to this point.

Just as the medium of watercolor has been traditionally linked to women artists, Teal carries this legacy into the modern musical landscape, blending the richness of history with a unique forward-thinking perspective. The album feels like both a celebration of the past and a bold declaration of a path forward — one that welcomes anyone ready to join in and shape the future of the art form.

The beauty of Teal’s work is that it feels familiar, while simultaneously offering something new and refreshing. Original Watercolour doesn’t just push musical boundaries; it redefines them, offering a lush and textured soundtrack for those willing to listen closely.

In a world that often feels over-saturated, Original Watercolour stands as a reminder of the power of simplicity, intuition, and connection. Teal’s debut album invites you to experience something both deeply personal and universally understood. The landscapes they create are vivid, yet soft, grounding yet expansive. With each track, Teal’s music reflects the interconnectedness of all things — a truly unique piece of work in the world of experimental soul and dub adjacent electronic music.

Rising and falling. We all live in the same pond. Peace to all.

Following the success of his recent single "Just A Flute Thing," DJ Scientist returns with his latest release, "The Baku Files". This project delivers another stunning instrumental Hip-Hop gem, built on rare samples.

The first track features one of Scientist's most captivating and jazzy Boom Bap beats in years, sampling Azeri jazz from the Soviet era. With vocal cuts taken from old rap records he crafts a unique fusion of cultures and eras.
Side B of the single is entitled "To See You," a DJ-friendly rework of a track by the renowned Soviet composer Murat Kashlaev, originally re-issued a few years ago on Spasibo Records.

These two standout tracks are available on the vinyl, while the digital EP offers additional material.

"The Baku Files" is a beautiful Rare Groove Hip-Hop release, perfect for DJs and Soviet groove enthusiasts alike. It comes with beautifully designed artwork inspired by Soviet-era aesthetics.

Killer previously unreleased mid '80s Tetrack tune finally out on road. Astute dubplate fiends may have heard this played by Rodigan back in the day, and others may know the Mighty Diamonds' later recording of the song. But the original cut is this one, written by Carlton Hines and performed by his group, the great Tetrack. Here it is in pristine quality straight from Gussie Clarke's master tapes, and mixed faithfully in style to the original dubplate cut, by Music Works' associate Curtis Lynch. Comes on the lovely "Dubwise Made in Jamaica" version of the Music Works label, which was used exclusively for dubplates cut at Gussie's original studio back in the early to mid '80s.

Previously unreleased; four track 12" with two different vocal takes, each w/ dub. Comes in Bond Export company sleeve.

Another cold case solved! One of DKR's early victories was finding a tape of the drum & bass cut of the legendary dubplate 'Rocks & Mountains.' Rumor had said the artist was the Mighty Travellers, but this didn't really add up chronologically or audibly. More astute listeners mostly agreed the artist was likely the Majesterians, a little recorded group who had made a couple other records for Taxi circa 1980. When we first issued the song on a 10" back in 2011, even Sly himself couldn't recall for sure who sang the tune. Like with other 'mystery' projects which we eventually came to realize, we never gave up digging on this one. There were two mysteries at work here - one, confirming the identity of the group, and two - finding the other cut of the tune, which features fuller instrumentation and a different vocal take. Both cuts were around on dubplate circa '80/'81, and the latter cut can be heard ever so briefly in the infamous UK "Sound Business" documentary film from '81. In the course of a mere 13 years, both questions came to be solved - we obtained a pretty clean plate cut of the fuller mix, and we confirmed the identity of the group. The Majesterians were a vocal trio consisting of Everton Dacres, Roderick Perkins and Paul Mitchell. While the latter two gentlemen don't seem to have done much otherwise, we are sure the roots heads and hopefully all DKR followers know Everton Dacres, who made some fine roots music in the 1970s prior to fronting the Majesterians. We spoke to Everton and he confirmed 'Rocks & Mountains' was their tune, cut in Channel 1 at a Taxi session featuring a host of other artists. Indeed, these were the heady days of 1980 with Channel 1 booked round the clock for locked-in sessions, with the Taxi Gang and the Roots Radics laying down future classic after future classic. All that said, we're happy to re-present this tune now with not only proper accreditation, but also both known mixes and the drum & bass mix in improved fidelity over its previous issue.

Brand new Manchester imprint, 160 Street Recordings is excited to announce its first vinyl release, Evolutions EP, by the dynamic production duo of Response and Buda. With a reputation for carving out a distinctive uncompromising sound, the pair return with a gritty, dark collection of tracks that channel the deep, raw energy of early 90s Jungle and Jungle Techno.
Drawing influences from the breakbeat-driven sub-bass and atmospheric elements of that era, the Evolutions EP fuses heavy basslines, classic breaks, and dark, rave-inspired energy.
A1. Evolutions
The EP opens with the title track, ‘Evolutions’—a driving, atmospheric tune full of breakbeat intensity and underpinned by weighty sub bass. Kicking off with a memorable rave stab melody, the track builds with powerful percussion and a haunting, evolving soundscape that moves between light and dark.
A2. Fintons Dub
“Break, show ‘em something, but not too much….” ‘Fintons Dub’ brings a laid-back dubbed out groove, with a selection of classic breaks and a deep sub-bass foundation. An atmospheric pad and cinematic Kung Fu movie sample add depth to this cut, the breaks building gradually with delays as the track rolls out..
B1. Fintons Dub (Double 0 Remix)
No introduction is needed for Double 0, co-founder of legendary London club night Rupture and one of the pioneering figures of the original Hardcore Jungle Techno sound. His remix of ‘Fintons Dub’ takes the track back to his Doncaster warehouse roots, unleashing thunderous bass and breakbeat energy, a twisted mentasm and techno infused stabs. A true dancefloor weapon that embodies the true spirit of Jungle Techno.
B2. Acid Vein
Rounding off the e.p. is ‘Acid Vein’ a 303 led breakbeat bomb that infuses rolling breaks with a pounding sub bass and haunting jazz samples. Slower in tempo than the previous tracks and more reminiscent of the more formative years of rave, Acid Vein will also appeal to the wider breakbeat community.

Doris Brendel & Lee Dunham take an unexpected yet electrifying turn into the world of Blues with their latest album, Big Blue Sky. Known for her powerhouse vocals and genre-defying style, Brendel—who recently won the HRH Prog Angel Award 2024—delivers 13 beautifully crafted Blues tracks that blend raw emotion, soulful melodies, and top-tier musicianship. Featuring a stellar lineup, including Sam Brown (Hammond), Sam Blue (vocals), and Sam White (drums), Big Blue Sky is a masterclass in Blues with a contemporary twist. From classic blues ballads (‘Under the Covers’, ‘Red Letter Blues’) to the humour-infused ‘Slow Wi-Fi Weekend’ and soul-stirring duets (‘Is This the Last Time’), the album is a fresh and dynamic take on the genre. Produced by Lee Dunham, Big Blue Sky is available digitally, on CD, and on vinyl (featuring a special 9-track selection). Doris Brendel has performed with some of rock’s greats, including Fish (Marillion), Wishbone Ash, and Nils Lofgren, and was even invited to tour with Pink Floyd. With Big Blue Sky, she proves once again that she refuses to be boxed into a single genre, bringing her signature husky, bluesy vocals to a project that is both timeless and innovative.

Proudly presenting our reissue of the sought-after 1978 album 'Ritmo Y Sabor' from Cuban, master bongo player, Manteca. A deep, hypnotic, sonic excursion of Afro-Cuban/mambo rhythms to get lost within. Released in 1978, there are a number of different pressings of the album coming out on labels including GRC, Desca Records and Sound Triangle Records. Stripped-back and low-fi, this is a pulsating hit of instrumental Latin-jazz dance magic.

Predominantly made up of just percussion and bass, the album comes courtesy of Carlos "Rico" Ramirez on bass, Carlos Patato on congas, timbales by Nelson Padron and Lazaro Pla aka Manteca as band leader. A Cuban legend, Manteca rose to fame playing with Ernesto Lecuona and the Cuban Boys. Although he featured on numerous recordings in his home of Cuba, only a handful exist of his as featured soloist or band leader.

A whirlwind of percussive brilliance, ‘Ritmo Y Sabor’ is brimming with energy regardless of the tempo of the track. An instantaneous ability to make you move, the grooves come alive with each new rhythm introduced. Take for instance, the track 'Afro Funky' that more than lives up to its name. A breakbeat Latin-funk workout, with a mighty fine walking bass line that provides the basis for the drummers to vibe off. Elsewhere, 'Rumbon En Casa De Cando' is fast and furious perfect for the jazz dance specialist, whilst 'Sabor A Mantecado' keeps you on your toes with its trance-like repetitive bassline and percussive interplay. 'Cosa De Manteca' is another heavy-Latin funk gem with a rough and raw feeling of relentless yet groove-driven percussion.

A must-have Afro-Cuban, rhythmic funk triumph, that shows Manteca and his band in full flight

HISINGEN TAXI RIDER is TOMMA INTET’s fourth album, but the first to be written entirely in Swedish. It tells the story of moving to Gothenburg and the transformative experience of new impressions and people. A tribute to adventure, the thrill in your stomach, and all those late nights. Taxi rides to raves and after-parties. Taxi rides home to loneliness. Taxi rides to love and taxi rides to anxiety.

With HISINGEN TAXI RIDER, TOMMA INTET continues on their distinctive path, refining their signature sound. Layered harmonies run like a red thread through an ever-evolving musical landscape—blending grit with angel dust.

Written and produced by Magnus Petersson at Rum 101. Produced, mixed, and mastered by Johan Holm at Studio Påtår.

James Taylor has been writing/recording albums and touring for the past 43 years, starting with The Prisoners and then The James Taylor Quartet (JTQ) from 1986 onwards, to great acclaim. Taylor was the pioneering force that spear-headed the Acid Jazz movement in the 90's, which saw a renaissance in live music. He has also virtually single-handedly driven the rediscovery of the Hammond organ, his trademark keyboard. He has developed his composition and arrangement skills and with these has recorded over 20 library albums. The most recent of the library albums include the four tracks on this very EP, which feature Taylor's innovative horn arrangement skills, placing JB style horns over a funk groove, but in this case he had the novel idea of incorporating two guitars; one funky, one rocky. Sort of James Brown meets The Rolling Stones, and the result can be heard on this slab of vinyl. The current live line-up for The James Taylor Quartet is James Taylor (keyboards and orchestration), Mark Cox (guitar), Andrew McKinney (bass) and Pat Illingworth (drums).

Blue Sky Vinyl. Teethe is a band from Texas. The members of Teethe met while attending the University of North Texas in Denton, TX, a small college town outside of Dallas with a fertile music scene. Before forming Teethe, its core members Boone Patrello, Grahm Robinson, Madeline Dowd, and Jordan Garrett all played in various other groups in Denton, releasing music under different pseudonyms. Patrello released solo music via his Dead Sullivan moniker, while Robinson released under MAH KEE OH. Patrello and Robinson linked up with Dowd to record an album for her project, Crisman, in 2019. They all eventually moved in together, leading the group to start recording more as a whole unit, and subsequently Teethe was born.Made over the course of 2020, Teethe's eponymous debut album is a collection of songs pieced together over time - a sonic collage of fragmented recordings and half finished tracks made whole in the midst of isolation. Initially self-released in November of 2020 with little fanfare, the album's warm, lo-fi aesthetic and slow, calming songs spread by word of mouth. Roughly one year later, at the top of 2022, the band returned with "Tag", a new single that caught the attention of slowcore fans and garnered shout outs from unlikely celebrities. Tours soon followed with Charlie Martin of Hovvdy, Momma, Milly, Waveform, and They Are Gutting A Body of Water. The band continued to record their own music, releasing another single, "Lucky," in the fall of 2022, and most recently partnered with Saddle Creek for their 7-inch series to release their newest single, "Moon," in October of 2023. Now spread between Dallas and Austin, the Texas band has recently signed with Winspear and will be re-issuing their self-titled debut LP this winter, along with a pressing of "Tag," "Lucky," and never before released b-side "Thanks" on 7-inch vinyl.

Hausu Mountain continues the HausLive series of live show recordings that capture some of the headiest moments in Chicago underground music. On HausLive 4, we rewind the clock approximately one year to May 3rd, 2024 at Constellation, where the all-star Bill Orcutt Guitar Quartet (featuring Wendy Eisenberg, Ava Mendoza, and Shane Parish) made their barn-burning Chicago debut. The series channels the spirit of the informal bootlegging and tape trading of audience recordings as pioneered by the community surrounding the Grateful Dead, honing in on the raw live energy and in-the-moment emotions that can make any show stand out in the stream of time. HausLive 4 catches the Bill Orcutt Guitar Quartet in a sublime state of tour-hardened synergy with one another as they tear through the four-string guitar compositions that Orcutt wrote for his album Music for Four Guitars (Palilalia Records, 2022) with dialed-in fingers-on-fretboard precision, while also letting those songs evolve into flights of improvisation and extend into solo and duo passages led by each of the four guitarists. As Orcutt says on tape during one of the show’s interludes, “that record is thirty minutes; this show is an hour, so we’re improvising.” The resulting free-wheeling moments combine with the rigidity of Orcutt’s meticulous four-guitar compositions to form a program of music that draws power in equal measure from the forces of chance and discipline.

Es ist ein unwahrscheinlicher Eindruck, den Xmal Deutschland in den frühen Achtzigern nicht nur auf das hiesige, sondern auch auf ihr britisches Publikum gemacht haben. Es war wie gebannt von den unvermittelten Stakkato-Rhythmen, der mysteriösen (also: deutschen) Sprache und der Kraft und Vision der beteiligten Musikerinnen. 40 Jahre später, genauer am 9. Mai 2025, erscheint nun "Gift: The 4AD Years", mit dem das Londoner Label die Jahre 1983/1984 wieder aufleben lässt. Die 3xLP führt das fiebrige "Fetisch", das mächtige "Tocsin" und die korrespondierenden EP-Tracks zu einem Ganzen zusammen, das pulsiert vor Energie und Haltung. Enthalten sind auch die Bandklassiker "Incubus Succubus II" und "Qual". Das Coverartwork mit einer Fotoarbeit von Peter Schulte wurde auf Grundlage von 23 Envelope-Originalarbeiten von Timothy O"Donnell designt. Es kommt begleitend zu den originalen Sleeve-Fotografien von Nigel Grierson. Hinzu kommt ein Fotobuch mit Bildern von Kevin Cummins, Paul Slattery, Sheila Rock und weiteren sowie einem Text von Chris Roberts. "Gift: The 4AD Years" erscheint am 9 Mai digital, auf Doppel-CD sowie als 3xLP auf transparentem, rotem Vinyl sowie exklusiv in Deutschland als Crystal Clear Vinyl.

3xLP Boxset mit den remasterten 4AD-Alben Fetisch und Tocsin und den EPs Incubus Succubus II und Qual Es ist ein unwahrscheinlicher Eindruck, den Xmal Deutschland in den frühen Achtzigern nicht nur auf das hiesige, sondern auch auf ihr britisches Publikum gemacht haben. Es war wie gebannt von den unvermittelten Stakkato-Rhythmen, der mysteriösen (also: deutschen) Sprache und der Kraft und Vision der beteiligten Musikerinnen. 40 Jahre später, genauer am 9. Mai 2025, erscheint nun "Gift: The 4AD Years", mit dem das Londoner Label die Jahre 1983/1984 wieder aufleben lässt. Die 3xLP führt das fiebrige "Fetisch", das mächtige "Tocsin" und die korrespondierenden EP-Tracks zu einem Ganzen zusammen, das pulsiert vor Energie und Haltung. Enthalten sind auch die Bandklassiker "Incubus Succubus II" und "Qual". Das Coverartwork mit einer Fotoarbeit von Peter Schulte wurde auf Grundlage von 23 Envelope-Originalarbeiten von Timothy O"Donnell designt. Es kommt begleitend zu den originalen Sleeve-Fotografien von Nigel Grierson. Hinzu kommt ein Fotobuch mit Bildern von Kevin Cummins, Paul Slattery, Sheila Rock und weiteren sowie einem Text von Chris Roberts. "Gift: The 4AD Years" erscheint am 9 Mai digital, auf Doppel-CD sowie als 3xLP auf transparentem, rotem Vinyl sowie exklusiv in Deutschland als Crystal Clear Vinyl.

"FURIE" ist Musik. Freude. Gegenwart und Avantgarde. Im Mai 2025 löst Alicia Edelweiss mit ihren zweiten Studio-Album "FURIE" das Versprechen ein, das ihr sechs Jahre zuvor erschienenes Debut-Album gab: der Pop-Landschaft etwas tatsächlich Neues und ehrlich Interessantes hinzufügen. "FURIE" enthält 8 Songs von heute sehr selten gewordener Länge. Sie haben ausreichend Raum und Zeit, um ihre eigenen kleinen Panoramen zu entfalten - die Künstlerin selber vergleicht sie mit Kurzfilmen, auf deren Handlungswendungen und Plot Twists man achten muss. Es sei gar nicht ihre Entscheidung, die Songs so lang zu machen, erzählt sie, sondern sie nicht zu kürzen. Für deren Länge und Konsequenz nutzt die Künstlerin das Wort Integrität. Was für ein wunderschöner Anspruch an die eigene Musik. Daher ist "FURIE" auch ein Album im fast altmodischen, im engsten, Sinne: Was einem heute wirklich sehr selten begegnet und was es zu einer echten Ausnahme macht, ist, dass wir tatsächlich vor gleichberechtigten und gleichermaßen qualitätvollen Songs stehen. Diese Stücke sind, da darf man das Wort Pop nicht falsch verstehen, nie vorhersehbar, niemals nur geschrieben - sie sind erdichtet, erdacht und komponiert. Zuweilen erkämpft. Das freilich, merkt man ihnen nicht an. Die Musikerin hat das Heavy Lifting übernommen - wir bekommen den Schwebezustand. Dieser gestaltet sich vor allem über Klang, Sound und Melodie, die als vielschichtige, komplexe Stimmungsträger funktionieren. Instrumentiert ist "FURIE" ungewöhnlich reich - mit Gitarre, Drums, Klavier, Akkordeon, vor allem mit Streichern, mit Tierstimmen, Geräuschen, Synthesizern, Glocken, Trompeten... für ein Lied ist der eigene Gesang unter Wasser aufgenommen worden. Es ist ein groß dekoriertes Album geworden. Es ist Verletzlichkeit und Maximalismus; im Ergebnis komplexer als das vorangegangene Debut. FURIE strebt nach Exzellenz. Gerade dort, wo das Schöne in dem Risiko liegt, nicht perfekt zu sein, sondern richtig.

Steve Bicknell returns to KR3, once again unleashing his mastery of power electronics!
Following his two reinterpretations of last year's "JK Flesh Remixes" and four years after his solo EP "A Day In The Life" in 2021, Bicknell takes us deep into the realms of his sonic mysticism, marking a significant milestone in the fifth anniversary of the label.
Several Streams of Thought LP - is an unrelenting and immersive odyssey, presented through nine tracks, seven of which will be available on a double 12-inch vinyl, with two exclusive cuts in a limited 7-inch format.
The album hits hard, straight to the brain, with no warning, across sides A, B, and C. Each side is a raw, untamed techno experience, with Bicknell's unmistakable signature dominating throughout, delivering unwavering intensity and relentless impact.
However, on side D, a transformation takes place: a 15-minute soundscape that turns the embedded waves into breath - a blinding light emerging from the darkness. It's a moment of tribalism and evocative magic, offering a refreshing pause, a return to balance after the intensity of the shadows.
The 7-inch, available in a limited edition under the title "the eye of the invisible world", contains two tracks - one on side E and the other on side F.
The mystical sounds complete this dual experience: one part filled with dark, untamed energy, while the other brings a sense of mental lightness, emphasizing breathwork and emotional self-
healing.
S | B is back, stronger than ever!

Parisian mambo " is the second album by " Cecilya & the Candy Kings ". The entire LP is an homage to the city of Paris, that has made musically grown up the catalan singer since she settled down in the capital of love. The 11 songs of the album take you to a musical journey back to the 1950"s by the hand of a woman with a powerful and luminous voice committed to the causes of her time. Cecilya"s lyrics, intimate and universal at the same time, not only speak about love and celebrationas the old rhythm"n"blues did. She speaks about dreams (broken or not), internal struggles, healing,emigration, her native Mediterranean sea, the chance to be a freewoman, the superficiality of the world we live in and the nostalgia for better times.The music, signed Rodolphe Dumont, has been carefully created and produced to sublimate Cecilya"s personal universe. The retro sound ambiances and catchy melodies truly take us back to the times of Elvis and Marilyn Monroe. "Parisian mambo" captures the essence of the cream of rhythm"n"blues from the golden era: a mix of blues,rock"n"roll, boogie-woogie, mambo and far more.The musicians on the album are:Cecilya Mestres on vocals, Rodolphe Dumont on electric guitar, Sax, Gordon on tenor and baritone saxophones, Olivier Cantrelle on piano, Abdell B. Bop on double bass and Denis Agenet on drums.

Philadelphia's THE WONDER YEARS are set to release Burst & Decay Vol. III on May 9 via Hopeless Records. This third installment of their stripped-back series introduces a new track, "Junebug," written by vocalist Dan Campbell about his younger son and produced by Steve Evetts (SAVES THE DAY, LIFETIME). On the record, Campbell's personal narrative continues with "Wyatt's Song (Your Name)," a piece crafted for his older son that employs the actual recording of Wyatt's in-utero heartbeat as its metronome. Closing the album, "Doors I Painted Shut" delivers cinematic intensity through vibrant vocals and production led by guitarist Nick Steinborn, signaling a confident exploration into new sonic territory. Burst & Decay Vol. III also features collaborative reinterpretations of signature tracks. On "Came Out Swinging," Joe Taylor of KNUCKLE PUCK lends dynamic vocals, while Zayna Youssef of SWEET PILL amplifies the raw vulnerability on "Oldest Daughter." Ryland Heagy of ORIGAMI ANGEL offers a tender performance on "I Don't Like Who I Was Then." Over a career spanning more than a decade, THE WONDER YEARS have toured extensively_sharing stages with MY CHEMICAL ROMANCE, PARAMORE, DESCENDANTS, THURSDAY, BLEACHERS, and others_and built a community through their own label and the annual Loneliest Place On Earth festival, which has showcased acts such as HOT MULLIGAN, ORIGAMI ANGEL, and LAURA STEVENSON. Their previous album, The Hum Goes On Forever, debuted at #3 on the US Alternative Album Chart and earned recognition from Paste Magazine as one of the best records of the 2020s, while the track "Year of The Vulture" was chosen as the theme for WWE NXT's Stand and Deliver event.

Illusive Bristolian producer Claude Cooper returns with ‘Friendly Sounds Vol 1’; part psychedelic trip, part romping beat tape, part party. The album was inspired by the vinyl discoveries made from Cooper’s months of digging and cataloguing the bulging inventory of Bedminster’s Friendly Records record shop. Cooper fed these myriad captured sounds through the studio and then, blurring the lines between sampling and performance, arranged and embellished them with keyboards, drum machines, bass guitar and more, also co-opting BEAK> bassist Billy Fuller and esteemed composer Ben Salisbury to contribute.

With most of the tracks in and out within 90 seconds, the album is best enjoyed as a continuous course. Play side A, play the B, then flip it back and listen all over again. Stand out moments include tremulous cut ‘n’ paste jam ‘Jackie’, the moody string-laden ‘Rainbow Eternity’, funky sitar workout ‘Nerd Nork’, and atmospheric closer ‘Take Flight’. Sharing a similarly broad and experimental sound palette as the likes The Avalanches, Madlib, The Go Team, and Edan; ‘Friendly Sounds Vol 1’ is the soundtrack to a wild joyride down South Bristol’s North Street, foot on the gas, hand on the horn, LPs spilling from the boot.

Cooper’s irrepressible debut album ‘Myriad Sounds' (Jan ‘22) caught the attention of the UK's press and radio alike. Mojo's four star review described it as “Bristol’s beat scene backdrops late night jams”, Uncut enjoyed the "rugged psych-funk romp" and Louder than War declared "it’s vital and vibrant and exactly what we need to kick start the year”. Bonus round 'More Myriad Sounds' (Apr ‘23) added Brooklyn vocalist Brain Fog to the melange with a bounty of pyretic vocal performances. DJ Mag called it “A fierce, kaleidoscopic trip” while Bandcamp Daily said “This album of cross-genre influences is as likely to get it included in any number of best-of columns, with the theme of serious fun as their common element”. Called a "mysterious Bristol breaks scientist" by Lauren Laverne, BBC radio DJs including Cerys Matthews, Gideon Coe, Huw Stephens, Jamie Cullum, Stuart Maconie, and Tom Ravenscroft have rinsed Cooper’s tracks, with Huey Morgan inviting Cooper to contribute a Block Party Mix for his show.



‘Stay A While’, the first showing of Cooper’s new shop sampling stunners, was released on 7” in January ‘24. Lush string flourishes sliced with 6Ts girl-group vocals and rollicking piano chords resulted in a dreamy, end of night, lights up anthem in-the-making that The Arts Desk called “A horn-fired, beatsy, chop-around that recalls The Avalanches”. Releasing the album is Friendly Records, the best little record shop in Bristol and now a burgeoning record label. Opened by Tom Friend on North Street in 2016, it’s gone on to become a hub of the local musical community. As well as Claude Cooper, the label has released LPs by Alison Cotton, Floating World Pictures, Christian Madden & The Enemy Chorus, Nick Craft, as well as handling the War Child series of 7”s with BEAK>, Idles, J Dilla, PJ Harvey, Portishead, and Sleaford Mods + Hot Chip.



Claude Cooper will DJ at the one-day Friendly Festival on 10th May in aid of War Child, which will feature Sleaford Mods, Katy J Pearson, The 45s, Zalizo and DJ sets by Ishmael Ensemble, Heavenly Jukebox and Friendly Records DJs.

Tone Def were one of the original batch of artists to sign to Moving Shadow back in 1991, who brought there early demos into the studio with label head honcho Rob Playford, releasing 4 records on the label between 91-92. At the same time Rog from the band was also building speakers and installing club and free party sound systems. His skills were unchallenged and he soon went on to be one of the top speaker/system makers in the UK, if not the world with his company Void Acoustics.

But not all the band’s music from back then ended up on Moving Shadow … some of it was lost to ¼” tape and forgotten about until 2019 when Vinyl Fanatiks reached out to the band, being that we are all Bournemouth based. Rog dug out the tapes and went through them, finding many tracks which have been released on Vinyl Fanatiks and sister label Acid Boom.

This is the final chapter of the lost tapes – two tracks written in 1992, finally getting a release after 31 years!

Big Love for Big Music!

Mit 'Never/Know' melden sich The Kooks eindrucksvoll zurück - authentischer, energiegeladener und eingängiger denn je. Nach 18 Jahren Bandgeschichte und einem radikalen kreativen Neuanfang besinnt sich die britische Erfolgsband auf das, was sie am besten kann: großartige Songs mit Hymnenpotenzial, zwischen Indie-Nostalgie und neu entfachtem Selbstbewusstsein.

Das siebte Studioalbum überzeugt mit einer Mischung aus Spontaneität, Gefühl und klassischem Pop-Appeal - getragen von der Vision, „Liebe und Freude durch gut gespielte, gut geschriebene Musik“ zu transportieren. 'Never/Know' ist ein moderner Klassiker in bester The-Kooks-Manier - ein Muss für Fans und Neuentdecker gleichermaßen.

Aufgenommen in einem kreativen Ausnahmezustand voller Leichtigkeit, Experimentierfreude und kindlicher Spiellust, fangen The Kooks auf 'Never/Know' das ein, was sie einst so besonders machte - und gehen dabei gleichzeitig den nächsten Schritt. Kein glattpolierter Pop, sondern echte Emotion, verpackt in Songs, die sofort ins Ohr gehen.

Mit 'Never/Know' melden sich The Kooks eindrucksvoll zurück - authentischer, energiegeladener und eingängiger denn je. Nach 18 Jahren Bandgeschichte und einem radikalen kreativen Neuanfang besinnt sich die britische Erfolgsband auf das, was sie am besten kann: großartige Songs mit Hymnenpotenzial, zwischen Indie-Nostalgie und neu entfachtem Selbstbewusstsein.

Das siebte Studioalbum überzeugt mit einer Mischung aus Spontaneität, Gefühl und klassischem Pop-Appeal - getragen von der Vision, „Liebe und Freude durch gut gespielte, gut geschriebene Musik“ zu transportieren. 'Never/Know' ist ein moderner Klassiker in bester The-Kooks-Manier - ein Muss für Fans und Neuentdecker gleichermaßen.

Aufgenommen in einem kreativen Ausnahmezustand voller Leichtigkeit, Experimentierfreude und kindlicher Spiellust, fangen The Kooks auf 'Never/Know' das ein, was sie einst so besonders machte - und gehen dabei gleichzeitig den nächsten Schritt. Kein glattpolierter Pop, sondern echte Emotion, verpackt in Songs, die sofort ins Ohr gehen.

Liebe existiert nicht isoliert - sie verweilt, verändert sich und taucht auf eine Weise auf, die wir nicht immer erwarten. So auch der 27-jährige Sänger, Songwriter und Multiinstrumentalist Brandon, der all das und mehr auf seinem Debütalbum „Before You Go“ erforscht, das am 9. Mai bei Secretly Canadian erscheint. „Before You Go“ ist eine grenzenlose Sammlung von Soul- und R&B-beeinflussten Alternative-Pop-Gitarrensongs. Heute stellt Brandon auch die Leadsingle „Right Back“ vor, ein gitarrengetriebener Alt-R&B-Song mit warmem Gesang und synkopierten Beats.

Brandon Joseph - einfach Brandon genannt - ist aus der reichhaltigen kreativen Landschaft Südkaliforniens mit einem Sound hervorgegangen, der eine Mischung aus unaufdringlicher Verletzlichkeit und genreübergreifendem Ehrgeiz darstellt. Brandon hat seine Stimme durch Ausprobieren, Beharrlichkeit und Visionen gefunden, und seine Songs tragen die Spuren seines Einfallsreichtums: Brandon hat sich das Gitarrenspiel selbst beigebracht, er spielt jedes Instrument auf praktisch jedem Track, und er hat sein Debüt nicht nur selbst produziert, sondern auch jeden Song selbst gemischt und die Harmonie in ihren unzähligen Schichten gefunden. Nach dem Erfolg der zwei EPs „Coming Clean“ und „Blush“ ist Brandons Debütalbum bei Secretly Canadian sowohl sehr persönlich als auch klanglich anspruchsvoll. Einige der Songs auf „Before You Go“, die er komplett in seinem Heimstudio geschrieben und aufgenommen hat, brüteten jahrelang vor sich hin, während Brandons Talent und Ressourcen den Visionen in seinem Kopf entsprachen. Eine erste Reise in die Heimat seiner Familie in Trinidad erwies sich ebenfalls als prägend. Dort wurde Brandons Weltanschauung entspannter und friedlicher, und seine Musik folgte ihm. „Ich habe gelernt, mir Zeit zu nehmen“, erklärt er, „das Leben anders zu betrachten und die Menschen nicht mehr nur aus dem Blickwinkel der Transaktion zu sehen“. Das Ergebnis ist eine Sammlung von Songs, die sich nicht davor scheuen, selbstbewusst und zurückhaltend zu sein. Die Leadsingle „Right Back“ verkörpert dies mit einer hellen, minimalen Akustikgitarre unter Brandons warmem, romantischem Gesang. Der Song beginnt als Kreuzung aus Folk und R&B (man denke an den frühen Frank Ocean oder Steve Lacy), aber er öffnet sich zu etwas Größerem - ein nach unten gerichteter, in Dur-Tonarten gehaltener Floater mit wehmütigem Text, einem federleichten, synkopierten Beat und einem unwiderstehlichen, hymnischen Gefühl. Brandon ist bekannt für seine magnetischen Auftritte an der Seite von Omar Apollo und Mac Ayres und seine gefühlvolle Stimme zementiert seinen Platz als einer der fesselndsten neuen Singer-Songwriter, die in den letzten Jahren aufgetaucht sind.

Carlos Santana ist der große musikalische Kollaborateur, der seinen einzigartigen Gitarrenstil und seine weitreichende musikalische Vision mit einer großen Vielfalt von Künstlern verbindet, um etwas Neues, Einzigartiges und Transzendentes zu schaffen. Santanas Vision für Sentient war es, seine jüngsten Kollaborationen aus einer neuen Perspektive zu betrachten und sie zu einer klanglichen Pilgerreise durch Jazz, Hip-Hop, Soul, Rock und lateinamerikanische Rhythmen zu verweben. Er hat die Songs nicht nur so arrangiert, dass sie seiner Vision entsprechen, sondern viele von ihnen auch neu interpretiert und einige Aspekte der Tracks verbessert, um ein kohärentes Hörerlebnis zu schaffen. Die Songs auf Sentient reichen von aktuellen Hits und Kollaborationen mit Superstars bis hin zu seltenen, unveröffentlichten und übersehenen Tracks, die Carlos in einem neuen Kontext präsentieren wollte. Das Ergebnis ist eine spirituelle Reise durch die unendlichen Möglichkeiten der Musik, geführt von Santanas kompromissloser Muse.

Underground hip-hop icon and Miami rapper Pouya kicks off 2025 with his seventh studio album, Suicidal Thoughts in the Back of the Cadillac, Pt. 3 - serving as an unofficial spiritual successor to his 2024 album, THEY COULD NEVER MAKE ME HATE YOU. After a successful run as direct support to $uicideboy$’ Grey Day 2024 Arena Tour, it’s clear that Pouya has cemented himself among the top artists from the alternative / cloud-rap scene from the mid 2010s. With a rabid fan base primarily built from the ground up, and without the flashy mainstream features or press looks, Pouya has established himself as a staying power in a lane that typically sees artists rise and fall in accordance with today's modern attention span. Continuing to super-serve his fans, Pouya will be embarking on a nationwide tour in North America in 2025.

Synths Below Sea Level is a new collection of tracks from the mystic and arcane tape archives of Danny Wolfers, best known as Legowelt. This release collects rare and unheard Legowelt tracks from 1994 to 2005, mastered by Mattias Fridell to sound as vibrant and unique as the artwork painted by Mr. Wolfers himself.

Emerging from the Minneapolis underground and heading straight towards the sky, IE arrive on Quindi with a full-length album of sparkling, sophisticated wonder. Touching on kosmische grandeur, Riley-esque cyclical patterns, lounge pop and dubbed out psychedelia, the five-piece allow their songs to unfurl with a natural, hypnotic elegance which can take many different forms.
There's a loose, live quality to the recordings IE's members commit to record, which reflects their steady presence gigging in Minneapolis and the surrounding area. Since putting out their first release in 2016, they've glided from drone and synth-led jam band ambience (2018's Pome) to strung out, stoner-tinted slowcore (on 2023's outstanding Junk Body). For Reverse Earth they strike a smoky note that wraps itself around your skull across extended run times that evolve with a meditative poise.
From the deceptively driving 4/4 thrum of the opening title track through 'Divination Bag's snaking tryptamine mantras on to 'Simplify's slow and smouldering indie-soul, IE's sound is bathed in a sumptuous warm glow that rounds out the lows and the mids, creating a nocturnal shroud in which their nebulous song structures can feel deliciously endless.
Meredith Gill's drums provide rolling and tumbling undercurrents for the slowly shifting phases of the instrumental players, as Michael Gallope and Travis Workman trade keyboard parts and Workman and Sam Molstad chop and pick at their six-strings. Atop the thrum of her bass, Mariel Oliviera's vocal adapts to the scenery, from a distant, dreamlike siren song on 'Reverse Earth' to a spoken word meditation on 'Babel'.
There's space in each track for every instrument to cut through and have its moment, from a spiralling key vamp to a chicken-scratch guitar flex. The gently twisting, head-feeding groove exercises of the first four tracks give way to a slow and powerful march on 'Dark Rome', closing the record on a noirish anti-ballad fit to peal out in the closing slot at Twin Peaks' Roadhouse (circa season three).
As much as the tracks teem with composition, musicianship, and production to savor, a sound like IE's has a soporific quality that soaks in unconsciously. It's an evocative portal where the band feel as if they could just play on each piece ad infinitum - where the time itself seems to dislodge from its moorings.

Der britische Jazz-Produzent Daylight Robbery kehrt mit seinem neuen Album Third Island Suite (auch bekannt als Third Eye Land) zurück, das über Melting Pot Music auf LP und digital veröffentlicht wird. Eine fesselnde Fusion aus Spiritual Jazz, Fusion und Hip-Hop, die in Zusammenarbeit mit dem renommierten New Yorker Pianisten Nick Marks entstand.

Als Nachfolger seines Debütalbums Moons of Jupiter aus dem Jahr 2022 lässt sich Third Island Suite von John Fowles’ metafiktionalem Klassiker The Magus inspirieren und erkundet klanglich eine Welt psychologischer Illusionen und meisterhafter Täuschungen. Das Artwork hat der Kölner Illustrator Jens Roth entworfen.

'Hand to Mouth' ist ein bewusster Umgang mit Raum und Zurückhaltung. Keeley Forsyth - Komponistin, Sängerin und Schauspielerin aus Oldham im Nordwesten Englands - und ihr langjähriger Kollaborateur Matthew Bourne schöpfen aus der Erfahrung, die sie in den letzten Jahren mit dem Zusammenspiel von Stimme und Harmonium gesammelt haben. 'Hand to Mouth' greift diese Sensibilität auf und verfeinert sie durch minimale, hypnotische Texturen und elliptische musikalische Strukturen.

Unter Präsidentschaftskandidaten und zukünftigen Astronauten, war die North Carolina Agricultural and Technical State Universität in Greensboro eine Brutstätte für schwarze Spitzenleistungen, Aktivismus und Talent. Unter einem halben Dutzend Labels versammelte der lokale Tölpel Walter Grady eine wechselnde Besetzung von Städtern, Homecoming-Queens und großen Männern auf dem Campus um einen schillernden Sound zu manifestieren, der sowohl einheimisch und revolutionär war. "Eccentric Soul: The Linco-Label" versammelt melodische Meilensteine aus dem Geburtsort der Bürgerrechtsbewegung.