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Roy Davis Jr. & Byron The Aquarius and Jamie 3:26 & Danou P remix Radio Slave’s Wildlife.

‘Wildlife’, released a few months back, found Radio Slave tapping into his house and disco roots. It proved a dancefloor smash that got support from a wide array of artists, from DJ Bone and Tim Sweeney to Roman Flugel and Axel Boman. As such, the artists chosen to remix come from similar backgrounds and bring all new perspectives to this irresistible gem.

First up are Chicago house legend Roy Davis Jr. and keys playing maestro Byron The Aquarius. Both make the sort of dusty, feel-good deep house that will never grow old and have done so on the scene's best labels. Their sizzling seven-minute rework of 'Wildlife' has jazzy, life-affirming keys and smeared synths that bring the warmth. The drums are rubbery and inviting, and the whole thing brings real musicality to the floor.

The second remix is from original Chicago innovator, deep digger and edit king Jamie 3:26 and a young Dutch artist he has long since mentored, Danou P. Between them, they have cooked up gems like 'What It Is' together on Shake Records and remixed for Defected, all with a healthy respect for disco, funk and soul from the 80s onwards. Their take on 'Wildlife' is a piano-laced and upbeat party starter. Noodling bass riffs,zippy synth details and lavish chords make for a sophisticated sound that will swell the heart.

Released in 2014, "Greater Than Great" is the 5th album by Jamaican singer Skarra Mucci, the first for Undisputed Records, bringing together the cream of Reggae Digital productions from Bizzarri Records, DreadSquad, Irie Ites Records, Weedy G Soundforce, Deebuzz Musik, Hard2Def, Soulove / Delamix, D&H Records, Kskamp and Rawkaz Clan which the toaster comes to ride brilliantly. Greater than great, it's just legend! The album "Greater Than Great" offers eclectic versions navigating between Dancehall, Digital, Reggae and Raggamuffin. Skarra Mucci proves once again that he is one of the rare singers capable of putting his voice on all styles of Reggae with a capital "R" and transforming them into instant classics, like "My Sound », his biggest hit found on this album.

His jaw- dropping, natural sounding, and unschooled skill on acoustic guitar, matched with an authentic 'Belfast Blues' voice, drew comparisons to John Martyn and Rory Gallagher, with nods to Van Morrison and Foy Vance. In addition to being an acoustic guitar star, Dom is equally adept on electric guitar, showcasing his talents with his power trio.

Dom has won a handful of European and UK Blues Music Awards. His sophomore studio album, 'A Savage Life' received rave reviews with Rock and Blues Muse declaring, "Dom Martin is the next rising star in the global roots scene.

Jump aboard now before he passes you by." Blues in Britain declared that Dom was "A rare talent of such sheer genius," and Classic Rock effused, "The Belfast guitarist is a sprawling talent."

His latest effort,' Buried in the Hail 'was co- produced by Grammy nominated producers Chris O'Brien & Graham Murphy. The album takes the listener on a very personal journey. "Unhinged" is all anger and fury, sparks and smoke and flames, from screaming amps. Taking a positive turn is "Daylight I Will Find", a song about life's challenges and how through self- love, one can find the answers. The sole cover on the album is a broken down, heartbroken version of "Crazy".

In Flight, BNL's eighteenth studio album, retains the dry wit and keen observation we expect from vocalist/ guitarist Ed Robertson, bassist Jim Creeggan, keyboardist/guitarist Kevin Hearn and drummer Tyler Stewart, but adds a strong sense of maturing and lessons learned.

There is also a sense of joy (which is exemplified in the first single, "Lovin' Life) and appreciation. On the new single, "One Night", BNL honor "...the magical connection that happens between a whole audience and a band." Songwriter Robertson, says, "When it goes right - which it almost always does - for that 'One Night', it's a very intense connection."

In addition to the eight songs written/ co- written by Ed Robertson, the album features four songs from Kevin Hearn, (two of which are love letters to Toronto - "See the Tower" and "The Peace Lady") and two from Jim Creeggan (including "Wake Up", a co-write with the Arkells' Max Kerman). Produced by Grammy and Award-Winning producer Eric Ratz, In Flight is ready for takeoff.

The innovators of Electro-Hip Hop are back! Franco-Californian duo, AllttA (French producer 20syl + American rapper Mr. J. Medeiros) emerge from their five year hiatus to take on the stage! After their 2017 debut “The Upper Hand” and sophomore following “Facing Giants” (that same year), AllttA returns with “Curio” Part. I, the first installment in their two part experiment on Electro and Hip Hop: a soundscape they’ve co-created while bending and pushing both into their own AllttA image . This “Curio” experiment of sound in motion will be hitting the road for a tour that will begin next fall.

The Electro-Hip Hop duo consisting of American rapper Mr. J. Medeiros and French producer 20Syl took an “at all cost” - “no fear” attitude when creating what might be the future of Electro - Hip Hop or at the very least a defining moment in the sub-genre.

“CURIO” Part II is AllttA’s second release from their two part album, “CURIO” Part I & II and as its name declares its: a rare, unusual, and intriguing object. In all aspects of “CURIO” you can see, feel, and hear the symbiosis of digital and organic life - the artificial intelligence and the human touch, a relationship which has never been so relevant as it is now.

Even material that didn’t make the record, a tune titled “Savages”, a jaw dropping sound experiment where AllttA used A.I. in a manner which shook the Hip Hop world at the highest levels of stardom, allowed the duo to insert a musical perspective into this world wide debate on the human relationship with technology. If this tune did not make it on the record - imagine what did…

“CURIO” Part II is where AllttA defines itself with confidence, class, and a level of creativity seemingly lost in an oversaturated market of express musical branding. Songs like “Honorificabilitudinitatibus’ and “Victim” take the listener into a genre splitting, epoch bending, mind and sound experience. Shakespearean like word play followed by stacked one-man choruses give you the impression Queen snuck in while distorted analog bass rings violently before morphing into sweet - pensive harmonic tones.

LTD ORANGE VINYL

GLOK is the electronic alter ego of Andy Bell; best-known as the guitarist in venerated shoegazers Ride, alongside stints in other famous groups, with a noteworthy solo careertoo. This October his first album proper as GLOK - 'Pattern Recognition' - is released via Ransom Note Records' sisterlabel Bytes. Although usually renowned for purveying the finest quality jangle, drone and general guitar-based magic, Bell's forayinto dance music should come as less of a surprise than immediately meets the eye. There are parallels between the genres within the sonically-deep layers, hypnotic sound and trance-like headspaces, or, as he puts it more succinctly: "GLOK is all about the push and pull between electronic and psych in my music." Although not a full-blown concept album, 'Pattern Recognition' has a loose thread which takes in a week of life, from weekend to weekend, with each of the vinyl's four sides capturing different mind states across that transition. Each side has a distinct feel that's different to the last but inherently cohesive - much like the changes an individual goes through over 7 days. Across the album with loving craft Andy weaves together throbbing dubbed-out acid, steamy jack trax, levitational psychedelia, sparkling Balearic, techno, Kosmische, shoegaze, art rock and Compass Point-style post punk -with just a hint of ambient, new age and contemporary classical too.

Bertram debuts on Dutch cult label Pinkman Records.

Fueled by nostalgia, 'Lights Out' aims to execute industrial old school dancehall and dub within a raw electronics framework. It combines old drum machines, vintage synths, acid bass lines, Sherman-laced vocals by Bertram and the people in his life, and clever approaches to the creative process and production.

He believes in a ''it takes a village" approach and worked closely with label head Marsman to iterate the project. The release is blessed by remixes courtesy of C.L.A.W.S. and Chris Mitchell.

As Duke Ellington would have said, Dinah Washington was “beyond category”. Subtle and inventive enough to hold an honored place in the jazz pantheon yet tough and forceful enough to command the attention of blues, R&B and rock & roll audiences. Equally at ease performing Broadway songs, pop tunes or jazz material, Washington combined urbane finesse with down-home grit to make music that reflected her strong-willed, larger-than-life personality.

The mystery continues to deepen, as you hear whispers beckoning you out to the sea...

After refining their dark and seductive vision of alternative/gothic metal to surreal, cinematic levels with three EPs and a full-length album, The Cause of Shipwreck, behind them, the Assen-based Blackbriar continue to set their sails towards the future in 2023, signing with Nuclear Blast Records and working towards their second full-length album, again accompanied by long-time collaborator Joost van den Broek.

Formed in 2012 by Zora Cock, René Boxem, Bart Winters, and Frank Akkerman, they crafted their first single in 2014 with “Ready to Kill,” but it was 2015’s second single “Until Eternity” that truly propelled them into the scene. A sweeping track with an equally compelling and beautiful video, it continues to draw many to the act with over 18.1 million views since its debut. Taking advantage of the growing buzz surrounding the band, they independently recorded and released their first EP, Fractured Fairytales, as well as acquiring a second guitarist in Robin Koezen. This EP layed down an impressive foundation for the band’s ethereal and breathtaking sound and brought about new opportunities for the act, including tour dates in The Netherlands, Germany, Belgium, France, Switzerland, Czech Republic, Hungary, and more, where the band played alongside Epica, Halestorm, In This Moment, Delain and MaYan. To keep moving ahead with full control of their creative ideals, the band successfully crowdfunded their follow-up EP, We’d Rather Burn, and brought it to life in October 2018. This EP would be the first time the band worked alongside esteemed producer Joost van den Broek to arrange and produce the effort, and this fruitful collaboration allowed Blackbriar’s whimsical and enigmatic sound to reach new sonic heights. Released the same day as their self-made video for “I’d Rather Burn,” this EP showcased a stronger sense of dreamy atmosphere and brought listeners beautifully grim tales of witches, banshees, and sea sirens. In the time following, keyboardist Ruben Wijga (ex-Re-Vamp) took a larger role within the band and began playing shows, after being involved in the songwriting process since Fractured Fairytales.

A busy 2019 followed, the band released a haunting single in May entitled “Snow White and Rose Red.” A duet with Ulli Perhonen, their take on the Grimm’s fairytale featured striking cinematic visuals to accompany the spellbinding track. Continuing to dig deeper into fairytale realms, Blackbriar closed the year with their third EP, Our Mortal Remains. Ever-sharpening their intoxicating blend of storytelling and breathtaking musicianship, the EP brought about new live exposures for the act as well. Small, sold out tours with Epica in 2019 and 2020, as well as a sold out opening for Delain’s Apocalypse & Chill release show in Utrecht followed, with more future plans then being put on hold due to COVID-19. Championing their continued independence, which included everything from songwriting, maintaining their web presence, overseeing merch, as well as shooting and producing their own videos and photos, Blackbriar reached out to their ever-growing and loyal fanbase for assistance to make their full-length album a reality in 2020. Fans fervently heeded the call, reaching the € 25,000 goal in under 24 hours and ending with a total of € 70,000 and achieving all five stretch goals. An impressive accomplishment for an independent act, which also showcases a strong internet presence with over 214,000 YouTube subscribers and 46.1 million channel views as well as 27.6 million Spotify streams and 150,000 monthly streamers on the platform.

Top Left Club are a budget Brighton band from the depths of 2020. Ease into the sleaze and get ready to submit to the filthy frequencies about to be unleashed. Raw, pure songs filled with visceral energy will saturate every corner of your mind, potentially changing the course of your life. Top Left Club take no prisoners

'THE HARMONY CODEX - the seventh album by Steven Wilson - takes you on a trip. A genre-spanning collection that opens up like a musical puzzle box, it presents a series of endlessly beautiful vistas that roll out and shift in front of you. Arguably the best album Wilson has made during a career that’s spanned more than three decades both as a band leader and as a solo artist, it represents the apotheosis of a life spent fully absorbed in music.

The influence that 80s gay nightlife had on electronic music, pop music in general and the evolution of clubbing for
subsequent generations is pretty much incalculable. In spite of the shadow of AIDs and reactionary political and media
forces both at home and in the USA, the period 1980 – 1990 bore witness to a dazzling explosion of dance music that
artfully drew a line from the peak of late-70s disco to the emergence of house and its 90s glory days. The art of the
12” single, the thrill of the remix, the rise of the superclub, the electronic spark of chart pop, the challenging of gender
barriers… all had their origin in the gay clubs. It’s not unreasonable to make the claim that by the end of the 80s,
virtually ALL chart pop music sounded like it had its origins on the dancefloors of Heaven nightclub!
Over 4LPs and 24 tracks, ‘Box Of Sin’ strives to tell the story of that decade, and to tease apart the strands of 80s gay
clubbing to show a period of unrivalled creativity and disco diversity. Via the box’s themed discs it shows how highenergy became house, how gender-bending synth bands took over the pop charts, how pop stars the whole world
over found a route to fame via the gay clubs, and how the era’s biggest producers aimed their masterworks purely at
the dancefloor. High energy, deep house, Eurobeat, synthpop, divas, acid house… all combine to paint a picture of a
rich and vibrant lifestyle. Along the way, ‘Box Of Sin’ unearths some overlooked gems rarely compiled today:
meanwhile some of the decade’s biggest names in club music gather to get into the picture – from Whitney Houston
to Dead Or Alive, Bananarama to Bronski Beat, Aretha Franklin to Inner City.
Based on the actual club charts at the time and with a stunning design package inspired by the small ads section of
80s gay press, ‘ Box Of Sin’ comes fully annotated and with an introduction by renowned gay author Paul Burston.
Throughout, it’s illustrated with photography documenting 80s gay clubbers in action, provided for Demon by The
Bishopsgate Institute, the UK’s LGBTQ+ archive. The project also resurrects the much-loved brand ‘Disco Discharge’, a
recognisable hallmark of quality among collectors and aficionados of club music heritage.

A former pizza delivery driver and now self-taught full-time musician, CRi first caught the attention of tastemaker press with early single ‘Rush’ and his subsequent ‘Someone Else’ EP. Not long after, he joined the Anjunadeep roster in 2019 and gained attention from the label fanbase, and radio titans Pete Tong, Annie Mac and Jason Bentley with his ‘Initial EP’.

His debut album ‘Juvenile’ exceeded expectations, being nominated for a number of awards, including Best Electronic Album at the JUNO Awards, and three separate titles at the 2021 ADISQ Awards, including Electronic Album of the Year and ‘Revelation’ of the Year, which CRi won. Since the release of ‘Juvenile’, CRi has released three singles, an EP and remixes for Bob Moses and Lane 8; become one of the first electronic acts to headline Montréal Jazz Festival to an audience of 45,000; and performed around the world once more, writing as he went.

Since the slower days of the pandemic lockdown, and Quebec’s tentative reopening of nightlife and music venues, CRi’s life has become much more fast-paced once again; a transformation that has been infused into every beat of his new album ‘Miracles’. The vinyl release of ‘Miracles’ comprises 14 tracks, including two standout prior singles, ‘Something About’ and ‘Losing My Mind’ (feat. Jesse Mac Cormack), which, combined, have already accumulated 10 million streams between them.

The other twelve tracks on ‘Miracles’ (including 3 bonus vinyl-only recordings) showcase Christophe’s signature warming synths, in addition to an impressively wide range of sounds, from drum and bass, to indie, from electronic and chillout, making this work his most expansive to date. After the album’s release, CRi will be heading on a live tour of North America, stopping off in seven cities, including Los Angeles, Denver, Toronto and, of course, his hometown of Montréal, where he’ll be headlining at iconic venue MTelus, which regularly plays host to indie-electronic stars, including, recently, Metronomy, Jungle, Monolink, Max Cooper and Amtrac, and is a perfect spot to celebrate his rise in this scene, before he takes his live tour to Europe in early 2024. ‘Miracles’ is out 22nd September, 2023.

Sara Dobbs and Jenny Shore used to work summer stock theater in St. Louis, Missouri. They'd do the hand jive with TV stars past and future; they'd get coldly corrected by the ancient, legendary choreographer Gemze de Lappe. Sara went on to Broadway, including a run as Anybodys in West Side Story. Jenny went on to choreograph in the independent dance scene of early 2000s Chicago. Julie Shore is Jenny's sister. She's always made music_playing Chopin, writing songs, making bands with her friends. She's had the archetypal Millennial journey of entering adulthood in the '08 financial crisis and figuring out what stupid series of jobs you have to take to pay rent while keeping an artistic life alive. Miles Francis grew up in New York City with Backstreet Boys posters covering their walls. An extraordinary drummer since youth, Miles thrives in collaboration_ whether producing artists in their West Village studio, performing with artists like Angelique Kidjo, or powering protests with a big marching drum. These four_Miles, Julie, Jenny, and Sara_are Sister Squares. What made them a musical unit was working with Grammy winner and Oscar nominee Will Butler. They've all just finished a new record together: Will Butler + Sister Squares. "After Generations, I considered making a weird solo record. Me alone in the basement, etc., etc. Mostly I realized that what I wanted was the opposite," says Will. He increasingly turned to the band for feedback on lyrics and song structures. He asked Miles if they'd produce the record. The band played a run of shows in August 2022, airing out studio ideas in live rooms. After coming home, the band regrouped at Figure 8 Studios in Brooklyn. "I had quit my band Arcade Fire very recently, after 20 years_maybe the most complex decision of my life. I had spent the preceding two years at home with my three children. I was 39 years old. I was waking up every morning and reading Emily Dickinson, until I had read every Emily Dickinson poem. I was listening to Morrissey, to Shostakovich, to the Spotify top 50. I had unformed questions with inchoate answers," says Will. "But, honestly, I was feeling great about the record." The album projects widescreen emotional landscapes. Lead-off single "Long Grass" is like a Harry Styles song with 20 more years of life behind it. Standout track "Saturday Night" has a beat, according to Miles, "with that robot-alien-dancing-at-a-haunted- dive-bar feeling that we were going for." The back half of the album is a danceable, weird choral record with harmonies both beautiful and dissonant. Closing song "The Window" is the comedown after the party_Julie playing a Chopin Nocturne on a three-years-out-of-tune piano, slowed to half-speed on tape with Will singing over it in a voice exactly as tired as he was. It's a record with a warm, humane soul.

Sara Dobbs and Jenny Shore used to work summer stock theater in St. Louis, Missouri. They'd do the hand jive with TV stars past and future; they'd get coldly corrected by the ancient, legendary choreographer Gemze de Lappe. Sara went on to Broadway, including a run as Anybodys in West Side Story. Jenny went on to choreograph in the independent dance scene of early 2000s Chicago. Julie Shore is Jenny's sister. She's always made music_playing Chopin, writing songs, making bands with her friends. She's had the archetypal Millennial journey of entering adulthood in the '08 financial crisis and figuring out what stupid series of jobs you have to take to pay rent while keeping an artistic life alive. Miles Francis grew up in New York City with Backstreet Boys posters covering their walls. An extraordinary drummer since youth, Miles thrives in collaboration_ whether producing artists in their West Village studio, performing with artists like Angelique Kidjo, or powering protests with a big marching drum. These four_Miles, Julie, Jenny, and Sara_are Sister Squares. What made them a musical unit was working with Grammy winner and Oscar nominee Will Butler. They've all just finished a new record together: Will Butler + Sister Squares. "After Generations, I considered making a weird solo record. Me alone in the basement, etc., etc. Mostly I realized that what I wanted was the opposite," says Will. He increasingly turned to the band for feedback on lyrics and song structures. He asked Miles if they'd produce the record. The band played a run of shows in August 2022, airing out studio ideas in live rooms. After coming home, the band regrouped at Figure 8 Studios in Brooklyn. "I had quit my band Arcade Fire very recently, after 20 years_maybe the most complex decision of my life. I had spent the preceding two years at home with my three children. I was 39 years old. I was waking up every morning and reading Emily Dickinson, until I had read every Emily Dickinson poem. I was listening to Morrissey, to Shostakovich, to the Spotify top 50. I had unformed questions with inchoate answers," says Will. "But, honestly, I was feeling great about the record." The album projects widescreen emotional landscapes. Lead-off single "Long Grass" is like a Harry Styles song with 20 more years of life behind it. Standout track "Saturday Night" has a beat, according to Miles, "with that robot-alien-dancing-at-a-haunted- dive-bar feeling that we were going for." The back half of the album is a danceable, weird choral record with harmonies both beautiful and dissonant. Closing song "The Window" is the comedown after the party_Julie playing a Chopin Nocturne on a three-years-out-of-tune piano, slowed to half-speed on tape with Will singing over it in a voice exactly as tired as he was. It's a record with a warm, humane soul.

Known principally as a smooth titan of blue-eyed soul, Bobby Caldwell transcended genre tags with consummate ease; he was a musical icon of real class and versatility, cherished the world over. Tragically passing away in March 2023 at the too young age of 71, it still feels as if Bobby's true artistry is profoundly under-appreciated. His double platinum self-titled album from 1978 is a timeless masterpiece of sophisticated jazzy soul brilliance and is strictly canonical. Yes, it's perfect, yet it's been out of press on vinyl for years. We're deeply honoured to present the long-awaited reissue this summer.

Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted.

String-swept opener "Special To Me" immediately sets the tone with its lush instrumentation, rich harmonies, and Caldwell's velvety-smooth vocals. Next up, a huge one. The infectious, mid-tempo bounce of "My Flame" showcases Caldwell's ability to effortlessly blend catchy pop hooks with soulful arrangements. It's an exquisite, emotive ballad that, at the same time, absolutely SLAPS. Game recognise game, and all that, so, accordingly, Notorious B.I.G. memorably ran with “My Flame” for his 1997 single “Sky’s The Limit”. The rolling, disco-very "Love Won't Wait" is a slick, uptempo track containing heartfelt lyrics intertwined with elegant strings and a horn section to die for. Aching - and achingly cool - single "Can't Say Goodbye" is a real fan favourite, and it's no surprise. It's a laconic, slow-mo jazz-funk stepper, with fantastic, very deliberate playing that closes out the A Side quite exceptionally. "Come To Me" slows proceedings down elegantly to open Side B before the universally agreed-upon masterpiece enters proceedings.

"What You Won't Do for Love," the standout hit that became a classic in its own right, perfectly captured Bobby's ability to infuse a contagious groove with introspective and relatable lyrics. With its instantly recognisable horn riff and Caldwell's soulful delivery, this timeless, chiller anthem continues to captivate audiences and define his musical legacy. He scored huge with the track, taking over the pop and R&B airways with this mellow soul stepper. It has remained a perennial favourite and has been heavily sampled, such is its unique allure; Aaliyah sang over snatches of it on "Age Ain’t Nothing But A Number" and you can hear Caldwell’s vocal sample used for the hook on Tupac’s posthumously released “Do For Love”.

Upon submitting the finished album to his label, they requested more material in hope of a big single. As Bobby remembered to Wax Poetics a few years ago: “Now at this point, I’m mentally exhausted...and bear in mind that I got so close to all the songs I’d written. I gave each song a profound amount of thought, and maybe too much. So, in haste, I went in and cut this song, "What You Won’t Do For Love". Wrote it in a day, cut the rhythm track, overdubbed the horns, I sang the song, and literally turned it in three days after. And lo and behold, the one song I gave the least thought to,” Bobby laughed, “ended up being a national anthem.”

The mysterious, magical "Kalimba Song" is a cosmic, kalimba-driven melodic-funk instrumental - short but oh, so sweet. It's followed by the supreme tear-jerker "Take Me Back To Then", Bobby's otherworldly voice deeply longing for a simpler time, "when life was mellow". I think we can all get behind this sentiment. The final cut is arguably its deepest, its low-key finest moment. For us, it is, anyway. The glorious, driving, effortlessly funky guitar-soul jam "Down For The Third Time" is a huge melancholic Be With favourite and has been played by discerning genre-hopping DJs with significant glee for years. Hypnotic, melodic, beautiful. Like the album it elegantly rounds out.

Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of his wonderful eponymous album will be available on vinyl across the globe, ensuring that fans of his incomparable talent - and soul music enthusiasts worldwide - can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland.

Get ready to unleash your inner seventies funk and soul enthusiast with the reissued edition of Miami's self-titled album! This record, which sadly became their last before disbanding in the early 1980s following the collapse of T.K. Records, for which they were the in-house band, will take you on a captivating musical journey.

The energy radiating from this album is almost palpable, filling the air with an electrifying atmosphere. From start to finish, Miami's self-titled album bursts with infectious energy that will transport you back to the soulful sounds of the era.

As the needle hits the vinyl, you'll be captivated by the undeniable groove and irresistible beats. It's a sonic experience that will make you want to move your feet and let loose to the soulful rhythms. This reissued masterpiece brings new life to a record that has long deserved celebration and recognition.

So, let's give Miami's self-titled album the overdue acclaim it deserves. Dust off this musical gem, crank up the volume, and let the funky and soulful melodies guide you on a nostalgic journey. Get ready to groove like never before and experience the magic of Miami's
unforgettable sound in this special reissue

Get ready to unleash your inner seventies funk and soul enthusiast with the reissued edition of Miami's self-titled album! This record, which sadly became their last before disbanding in the early 1980s following the collapse of T.K. Records, for which they were the in-house band, will take you on a captivating musical journey.

The energy radiating from this album is almost palpable, filling the air with an electrifying atmosphere. From start to finish, Miami's self-titled album bursts with infectious energy that will transport you back to the soulful sounds of the era.

As the needle hits the vinyl, you'll be captivated by the undeniable groove and irresistible beats. It's a sonic experience that will make you want to move your feet and let loose to the soulful rhythms. This reissued masterpiece brings new life to a record that has long deserved celebration and recognition.

So, let's give Miami's self-titled album the overdue acclaim it deserves. Dust off this musical gem, crank up the volume, and let the funky and soulful melodies guide you on a nostalgic journey. Get ready to groove like never before and experience the magic of Miami's
unforgettable sound in this special reissue

Yoke Lore’s first full length album, Toward A Never Ending New Beginning is set to solidify Adrian Galvin as an indie pioneer, transcending beyond the genre with his unparalleled talent for captivating listeners with his distinct artistic vision and introspective lyricism. The 14-track album chronicles his journey of turning strengths into weaknesses, personal growth, and discovering who Yoke Lore truly is. It’s an album full of reflection and raw, unfiltered honesty that will most definitely connect with listeners on a deeper level. Combining electronic beats with subtle instrumentation, each song on Toward A Never Ending New Beginning is sonically diverse and thoughtfully crafted, taking listeners on a journey of self-discovery along with Galvin. Galvin views his debut record Toward a Never Ending New Beginning, as being guided by the principles of the I-Ching; an ancient Chinese divination text that maps out 64 transitions that you could possibly be going through at any time, reflected in the form of hexagrams. It is a meditation on all of the little changes he has gone through in his life: from celebrations to moments of sadness to moments of stillness. All of it is connected, all of it is related.

"Neural transmissions of crisis on the eve of WEB 3.0"

Net Prophet finds the band moving deeper into the vaporous territory of 21st century excess, where power casually corrupts absolutely and the mental netscape is more deranged in the membrane than we ever knew possible. A world on the edge, where imminent ecocide and violent social upheaval lurk beneath every minute mental distraction. The doomscroll gets longer and the attention span shorter as a disconnected global internet life takes over with its scepters of promise and looming evasiveness.

The sound is rich in variety from the darkwave pulsing synths of "Lichtenberg Monologue" reminiscent of Shape / Shifting's "Tomahawk" to the growling, slowdriving bass of "A New Dawn" which harks back to the bands S/ T 1st record, albeit with a synth instead of guitar. Even with the stark contrasts of murder-punk "AR-15" and jangle- pop "Purgatory Mall" the record never strays from the prime colors of the band: Vox, Drums, Bass, Guitar, Synth.

Recorded live in the Berlin studio Monoton, the record demonstrates the band in its prime - tightened up and influenced by their extensive touring, who have honed their sound from simple elements into a rich and tasty nugget, easily digestible for the modern consumer. Always true to their company slogan "tight, loose and evil".

Blue Dolphin was a wild, iridescent punk band from Austin, Texas circa 2016. Over the course of a year, they created a buzzing, liberatory sound, a dark blood mix of melodic ease and existential gloom. This pairing suggests monuments like ’Peace?’ or ‘Is This Real?’ but Blue Dolphin found this path all on their own, through trust and reliance, that practice space unity that the best bands build simply through the joy of playing with each other.

Emboldened by this connection, the band birthed memorably fractured, brisk music full of daring and revelation.

At times, the songs barrel along as if the band is struggling to keep their instruments under control, an unrestrainable, breathless frenzy of notes. Other times, they take on a pensive ache, a weighted despair. Every time they form a perfect skeleton for Sarah Sissy’s vocal shove. The songs will squall and sway, reach overload, rattle half to death, and yet the moment Sissy begins singing they snap into a focused beam, a bulldozing, clear-eyed force.

‘Robert’s Lafitte’ is a rush of darkness, resilience, mystery and bliss, exactly what you’d want from a record named after Texas’s oldest running gay bar, and a band maybe named after the indescribable freedom of ocean life or maybe named after a type of ecstasy.

The LP contains the entire recorded output of Blue Dolphin, including all three self-released tapes and four previously unheard songs.

Members of Blue Dolphin have played in other bands like C.C.T.V., Chalk, Mystic Inane, Chronophage and NOSFERATU.

For fans of Silver Abuse, Chalk, Twelve Cubic Feet, Chronophage, C.C.T.V., Mystic Inane.

Includes poster / insert.

Taking up the gauntlet thrown down by New York's no wave scene, many Italian bands of the early '80s, playing far from the footlights of the world's stage, began creating compelling, and often cutting edge, hybrid sounds. This kind of experimenting soon went viral along the entire peninsula: from Southern Italy to the Alps, creating a brave new Italian take on post-punk. From the nervous white funk of Neopolitans Bisca, to the instrumental explorations of Confusional Quartet, to the "fake jazz" of the Hi-Fi Bros (who even had a track produced by Arto Lindsay), to Band Aid, this collection testifies to one of the most creative periods of the Italian underground. Also features: Eazycon, Modern Model, Die Form, Funkwagen, Nofun, Hakkah, Illogico, Rinf, and State Of Art. Includes CD; CD features the previously unreleased bonus track by La Maison, "Noise Express".

Farewell To The Welfare is now available in a limited edition teal vinyl pressing. The Tribe Records co-founder’s lost album, rumored to exist no more. Mastered from the original tapes and lacquered by Bernie Grundman. “As I thought about re­flecting on an aggregate of music for this album, I projected my attitude and spirit while living and working here, in Detroit, Michigan. We are earning and learning a new way of life, which explicitly tells us to become self-reliant in taking care of our families and each other. Government hand-outs are not an option for us.” Wendell Harrison. The first ever issue of this Spiritual Jazz album. The Tribe label, one of the brightest lights of America’s 1970s jazz underground, receives the Now-Again reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos. In the words of the collective themselves, “Music is the healing force of the universe.” Included in an extensive, oversized booklet, Larry Gabriel and Jeff “Chairman” Mao take us through the history of the Tribe, in a compelling story that delves not just into the history of the label and its principals, but into the story of Black American empowerment in the latter half of the 20th Century. The booklet features never-before-seen archival photos and rare ephemera from Tribe’s mid-1970s heyday.

"Multila" was the third album by Finnish producer Sasu Ripatti under the moniker Vladislav Delay. It compiles the "Huone" and "Ranta" 12"EPs Ripatti released on Basic Channel's Chain Reaction label in 1999 and 2000. The album features six hauntingly murky dub ambient tracks and the impressive 22-minute techno odyssey "Huone."

More than 20 years after its original release as a full-length CD album (Chain Reaction), these iconic recordings of modern electronic music are now available again as a double vinyl edition, featuring a revised artwork by Marc Hohmann that matches the new design of the "Whisteblower" and "Entain" reissues.

"Life films us exactly. Our experience of it, though, lies beyond images and descriptions. Emotions, coming in irrational flashes, are non-figurable. We lose our little connection to them very quickly. We look for forms which promise to take us to our own experience. We construct forms with this in mind: that they can take us to meet the subconscious. Multila's construction is principled this way. Fragments of experience, moments without definition or localisation are captured within tiny fragments of time and then within one's mindspace. We can look into it and see that experience has left some of its data to us. As we receive it, again and again, we are connected and reconnected to certain indefinable moments. Both during and after its recording, Multila is a tool to learn about the unintentional states of us. It is a way to see our own emotional loops. Multila is a soundtrack for vision." - Vladislav Delay in the year 2000

Still on and about after years of the most intense crate digging, gem mining, desperate head-scratching and avid schooling, thirsty as ever for the next musical thrill to wrap our ears and brains around, here comes the fruit of our life-long love story with Japanese electronics, Denshi Ongaku No Bigaku Vol. 1 and Vol.2. From the soul-fulfilling first crush felt upon hearing the iconic soundtrack of ‘Merry Christmas Mr. Lawrence’ by Ryuichi Sakamoto onto our release of Inner Science ‘Cosmo Tracks’, through the life-affirming sets of Laurent Garnier at Dijon’s seminal club, l’An-fer, which have at all times nurtured and expanded our taste for Easternmost delicacies, the influence of Japanese music on our vision and endeavours was paramount to the development of our catalogue, whether directly or indirectly.

This first volume gets the ball rolling with a fine assortment of mostly ambient, electronica and deep house-focussed joints. Draped in organic membranes and ASMR-like synth tapestries, K. Inoue’s nu-agey opener ‘Em Paz’ takes us on a ride across the most serene dreamscapes. Jazzing up these lush and oneiric coastal vibes, Gabby & Lopez ‘Drive form the Miracle’ merges a sense of Californian psychedelia with a straight out hard-bop swing. No stranger to our catalogue, Inner Science returns to serve up a crystalline slice of laid-back house on a mystique-imbued tip he holds the secret to. Flip it over and here comes Aquarium with the splendidly immersive ‘Rainy Night in Shibuya’, which very much feels like wandering amidst its neon-upholstered streets and swarming hallways in a bubble of your own.

Naohito Uchiyama treats us to a synth-drenched nocturnal ballad with the ‘80s-inflected vibes of ’Shugetsu’, whereas Keta Ra cuts a path of ethereal sublimation via the mischievously fun and bouncy balearic lounge of ‘equals’. Masterly crafted by Yuu Udagawa, ‘Infinite Possibility’ eases us in a realm where weightless pop and low-slung abstract hip-hop combine to further exhilarating effect. All in harp-driven brittleness and velveteen sub-bass stealth, Noah ‘Gemini - Mysterious Lot’ has us drifting to a lavishly orchestrated headspace, laying down an impressive work on textures and arrangements. All in on the sedated drip-tease flex, Sauce81 ’Sign of Secret Love’ is a blast of freaky hedonism, just as ready to cast its hypnotic spell down the sweatbox as it was upon its original release ten years ago.

Languid jacking house tune ’Tai+Dai’ from Keita Sano blows the winds of discoid luvin’ across the room with its impeccable balance of sharp, glimmering synthwork and driving bass onslaughts from the depths. An odd slice of reshuffled folk music, Waltz ‘Folkesta’ makes for some eerie invitation of sorts, enchanting and spookily haunting in equal measure. Back to a fevered, hip-swaying mindset, Kuniyuki hi-NRG jazz number ‘Free’ is an absolute wonder of piano and drums-driven boogie, cut from the same cloth as some of Blue Note’s finest Cuban jazz classics. Rounding off the package, Japanese legend Ken Ishii’s version of Larry Heard’s house Hall-of-Famer ‘Can You Feel It’ is pure bliss in a can, tailored to turn any crowd into a shapeless cloud of balmy euphoria and universal love, whatever the place or time.

Still on and about after years of the most intense crate digging, gem mining, desperate head-scratching and avid schooling, thirsty as ever for the next musical thrill to wrap our ears and brains around, here comes the fruit of our life-long love story with Japanese electronics, Denshi Ongaku No Bigaku Vol. 1 and Vol.2. From the soul-fulfilling first crush felt upon hearing the iconic soundtrack of ‘Merry Christmas Mr. Lawrence’ by Ryuichi Sakamoto onto our release of Inner Science ‘Cosmo Tracks’, through the life-affirming sets of Laurent Garnier at Dijon’s seminal club, l’An-fer, which have at all times nurtured and expanded our taste for Easternmost delicacies, the influence of Japanese music on our vision and endeavours was paramount to the development of our catalogue, whether directly or indirectly.

This first volume gets the ball rolling with a fine assortment of mostly ambient, electronica and deep house-focussed joints. Draped in organic membranes and ASMR-like synth tapestries, K. Inoue’s nu-agey opener ‘Em Paz’ takes us on a ride across the most serene dreamscapes. Jazzing up these lush and oneiric coastal vibes, Gabby & Lopez ‘Drive form the Miracle’ merges a sense of Californian psychedelia with a straight out hard-bop swing. No stranger to our catalogue, Inner Science returns to serve up a crystalline slice of laid-back house on a mystique-imbued tip he holds the secret to. Flip it over and here comes Aquarium with the splendidly immersive ‘Rainy Night in Shibuya’, which very much feels like wandering amidst its neon-upholstered streets and swarming hallways in a bubble of your own.

Naohito Uchiyama treats us to a synth-drenched nocturnal ballad with the ‘80s-inflected vibes of ’Shugetsu’, whereas Keta Ra cuts a path of ethereal sublimation via the mischievously fun and bouncy balearic lounge of ‘equals’. Masterly crafted by Yuu Udagawa, ‘Infinite Possibility’ eases us in a realm where weightless pop and low-slung abstract hip-hop combine to further exhilarating effect. All in harp-driven brittleness and velveteen sub-bass stealth, Noah ‘Gemini - Mysterious Lot’ has us drifting to a lavishly orchestrated headspace, laying down an impressive work on textures and arrangements. All in on the sedated drip-tease flex, Sauce81 ’Sign of Secret Love’ is a blast of freaky hedonism, just as ready to cast its hypnotic spell down the sweatbox as it was upon its original release ten years ago.

Languid jacking house tune ’Tai+Dai’ from Keita Sano blows the winds of discoid luvin’ across the room with its impeccable balance of sharp, glimmering synthwork and driving bass onslaughts from the depths. An odd slice of reshuffled folk music, Waltz ‘Folkesta’ makes for some eerie invitation of sorts, enchanting and spookily haunting in equal measure. Back to a fevered, hip-swaying mindset, Kuniyuki hi-NRG jazz number ‘Free’ is an absolute wonder of piano and drums-driven boogie, cut from the same cloth as some of Blue Note’s finest Cuban jazz classics. Rounding off the package, Japanese legend Ken Ishii’s version of Larry Heard’s house Hall-of-Famer ‘Can You Feel It’ is pure bliss in a can, tailored to turn any crowd into a shapeless cloud of balmy euphoria and universal love, whatever the place or time.

BOTANICA is the newly established Japanese label created by DJ/ Producer, Iori Wakasa. It was formed for him to utilize it as a foundation for the realization of his own unique, artistic expression.
And now, he has the pleasure to announce his label’s inaugural title with the release of his own BOTANICA EP.

Born in 1988 in a rural Japanese city surrounded by mountains and the sea with a mild climate, Iori grew up playing RPGs with a father who was a devoted game aficionado. And he was introduced to electronic music through game music from an early age and formed his musical sensibilities through playing the classical piano around the same time.

Influenced by the spirituality and idiosyncrasies of punk rock and ethnic and indigenous music in his youth, also gradually influenced by the Tokyo club scene and the music, it didn't take him long before
he made the choice to start DJing at the age of 17 and soon afterwards, started exploring the path of music production as a form of self-expression.

Iori set up Botanica to convey 2 main concepts of 'presenting music that provides each listener with their own viewpoint' and ‘to construct a fusion between 'nature' and 'man-made objects and human
activity’. Through the experience of traveling around Japan, Europe and Asia and connecting with people of different languages and cultures, he became to appreciate that music transcends all languages and grooves, and the framework in which he would like to shape his perspective and embody it as his way of life is what he envisions as the vital expression for BOTANICA, The two tracks and the artwork included in this first EP are the first steps towards hopefully chronicling the story of the vortex that he resides in now and the new forest that he plans to weave in the future with his label.

'The Pure Land' means in Japanese 'Gokuraku-Jodo (= a space where you can live in bliss)', but in English it is closer to 'utopia' or 'paradise'. However, 'The Pure Land' is a musical work that evokes a
hypnotic and pleasant euphoria through the gradual layering of multiple rhythms and soft particles of spatial sound design. It is also shaped with the aim of liberating the listener and guiding them towards their primal self.

In contrast, 'Lunar Down' expresses the changes that occur in the human state of mind during the extended period from moonrise to moonset especially when the moon sets from its zenith and is completed with a focus on maximum dance floor impact via an inner voice that resonates in the brain that echoes throughout a well-textured bass line and rhythm track.

The artwork for the front cover of this EP was created by SHINOZAKI HILOSHI, an illustrator who has been traveling and painting to express his true way of life that he learnt in the 10+ years of commuting between Tokyo (the end) and the Hawaii Islands (the beginning), and the graphic designer hiro, who stands by Iori`s side as his life partner and as the person who understands him the best. Iori`s first steps are complemented by the label design and art direction by graphic designer hiro, who stands by his side as his life partner and most understanding partner, and the proof is the physical cut, which is presented as the foundation for the future.

Read any article or comment thread about the Seattle noise-rock outfit GREAT FALLS and you're likely to see descriptors like cathartic, heavy, crushing, and unhinged. Maybe even psychotic. And sure, those are all apt: For over a decade, vocalist/guitarist Demian Johnston and bassist Shane Mehling (who also played together in the early-2000s noisecore band PLAYING ENEMY and the experimental duo HEMINGWAY) have honed their sludgy, overwhelmingly intense brand of heaviness, punctuated by delectably discordant riffs, terrifyingly low, thwacking bass lines, and mesmerizingly tight percussion. In the live setting, too, they’re notorious for a stage presence that is so aggressively confrontational and menacing that Mehling once broke his own arm mid-set.

But the most striking aspect of GREAT FALLS, setting them apart from the murky sea of sludge metal and AmRep-inspired noise-rock bands, is their ability to paint a deeply, utterly human story through an all-out assault on the senses: an art the band has perfected on their fourth full-length album OBJECTS WITHOUT PAIN, out September 15 via NEUROT RECORDINGS.

The album is not only their NEUROT debut, but also the first LP featuring drummer Nickolis Parks (GAYTHEIST, BASTARD FEAST), who joined the band prior to the release of their exhilarating, cacophonous 2023 EP,FUNNY WHAT SURVIVES.

OBJECTS WITHOUT PAIN takes us on a bleak, purgative journey through a separation–a snapshot of the turmoil and indecision that occurs after the initial realization of someone's misery, and before the ultimate decision to end a decades-long partnership. From the foreboding intro riffs of “DRAGGED HOME ALIVE” to the end of the 13-minute closer “THROWN AGAINST THE WAVES,” its eight tracks explore the thoughts that come up when a person is staring down the barrel of blowing up their life: How did this happen? Is it too late for a new life? Will the kid be OK? What will make me happier: familiar torment or unknown freedom?

Sometimes, Mitski says, it feels like life would be easier without hope, or a soul, or love. But when she closes her eyes and thinks about what's truly hers, what can't be repossessed or demolished, she sees love. "The best thing I ever did in my life was to love people," Mitski says. "I wish I could leave behind all the love I have, after I die, so that I can shine all this goodness, all this good love that I've created onto other people." She hopes her newest album, The Land Is Inhospitable and So Are We, will continue to shine that love long after she's gone. Listening to it, that's precisely how it feels: like a love that's haunting the land. "This is my most American album," Mitski says about her seventh record, and the music feels like a profound act of witnessing this country, in all of its private sorrows and painful contradictions. In this album, which is sonically Mitski's most expansive, epic, and wise, the songs seem to be introducing wounds and then actively healing them. Here, love is time- traveling to bless our tender days, like the light from a distant star. The album is full of the ache of the grown- up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It's a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Love is that inhospitable land, beckoning us and then rejecting us. To love this place _ this earth, this America, this body _ takes active work. It might be impossible. The best things are.

Sometimes, Mitski says, it feels like life would be easier without hope, or a soul, or love. But when she closes her eyes and thinks about what's truly hers, what can't be repossessed or demolished, she sees love. "The best thing I ever did in my life was to love people," Mitski says. "I wish I could leave behind all the love I have, after I die, so that I can shine all this goodness, all this good love that I've created onto other people." She hopes her newest album, The Land Is Inhospitable and So Are We, will continue to shine that love long after she's gone. Listening to it, that's precisely how it feels: like a love that's haunting the land. "This is my most American album," Mitski says about her seventh record, and the music feels like a profound act of witnessing this country, in all of its private sorrows and painful contradictions. In this album, which is sonically Mitski's most expansive, epic, and wise, the songs seem to be introducing wounds and then actively healing them. Here, love is time- traveling to bless our tender days, like the light from a distant star. The album is full of the ache of the grown- up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It's a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Love is that inhospitable land, beckoning us and then rejecting us. To love this place _ this earth, this America, this body _ takes active work. It might be impossible. The best things are.

Sometimes, Mitski says, it feels like life would be easier without hope, or a soul, or love. But when she closes her eyes and thinks about what's truly hers, what can't be repossessed or demolished, she sees love. "The best thing I ever did in my life was to love people," Mitski says. "I wish I could leave behind all the love I have, after I die, so that I can shine all this goodness, all this good love that I've created onto other people." She hopes her newest album, The Land Is Inhospitable and So Are We, will continue to shine that love long after she's gone. Listening to it, that's precisely how it feels: like a love that's haunting the land. "This is my most American album," Mitski says about her seventh record, and the music feels like a profound act of witnessing this country, in all of its private sorrows and painful contradictions. In this album, which is sonically Mitski's most expansive, epic, and wise, the songs seem to be introducing wounds and then actively healing them. Here, love is time- traveling to bless our tender days, like the light from a distant star. The album is full of the ache of the grown- up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It's a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Love is that inhospitable land, beckoning us and then rejecting us. To love this place _ this earth, this America, this body _ takes active work. It might be impossible. The best things are.

Watch The Sun is the next studio album from the acclaimed musician, PJ Morton. Following a prolific and remarkable creative run that saw 5 consecutive years of GRAMMY Nominations and 6 LPs since 2017, Watch The Sun aims to take a step back from it all. Looking to escape from outside noises and influences, PJ Morton chose to record in the secluded and storied Studio In The Country, where Stevie Wonder worked on 1979’s Journey Through The Secret Life of Plants, and artists like Allen Toussaint, Betty Davis and Dr. John have all recorded. Featuring the previously released “Please Don’t Walk Away,” & “My Peace,” the album is set to be his biggest and most anticipated release to date, delivering one of the most expansive sonic palettes he has ever developed as producer. Watch The Sun includes appearances from JoJo, Mr. Talkbox, Chronixx, Stevie Wonder, Nas, Wale, Jill Scott, Alex Isley, El Debarge, Zacardi Cortez, Gene Moore, Samoht, Tim Rogers & Darrel 'MusiqCity' Walls.

Piotr Kurek’s new album “Smartwoods” is a sprawling root system of tiny melodic phrases that loop and curl around subtly evolving instrumental thickets. The Warsaw-based producer and composer takes his cues from early music, baroque music and experimental jazz, entangling his influences with filigree traces of contemporary computer music and fueling it with sonic vapors from the near future.

Made up of seven distinct segments, the album blurs its acoustic and electronic elements into an illusory hedge of abstract sound. Harp, saxophone, clarinet, double bass, voices and guitar twist into computerized processes and synthesizer chirps, creating an uncanny dreamworld where the real isn’t always what it seems. Each player is entwined with the other to create a living, breathing whole.

Like Kurek’s painterly 2021 album “World Speaks”, “Smartwoods” is also inspired by visual art - particularly the whimsical work of Algerian-French graphic designer Jean Sariano. The album cover features artwork by Polish painter Tomasz Kowalski, whose shapeshifting creatures and miniature stories aptly reflect the music’s wild fantasy. The first manifestation of “Smartwoods” – a live show at Unsound in Kraków in 2022 – featured animations by Italian artist Francesco Marrello, who put together a visual treatment for the single “Harps”.

Music composed, arranged and produced by Piotr Kurek
Anna Pašic - harp
Tomasz Duda - clarinets, saxophone, flute
Wojtek Traczyk - double bass, electric bass
Piotr Kurek - keyboards, MIDI wind controller, electric guitar
Recorded in June and November 2022 by Piotr Kurek, Piotr Zabrodzki (Studio Pasterka) and Tomasz Duda

Brussels-based power trio Don Kapot are set to release their rousing new album 'I Love Tempo' on the 15th of September via W.E.R.F. Records - NEWS distribution.

A lifeboat of free jazz, afrobeat and krautpunk sailed by Giotis Damianidis (bass), Viktor Perdieus (baritone saxophone) and Jakob Warmenbol (drums), the album follows the release of their critically acclaimed 2022 album 'Un Peu Live' recorded with Dutch multi-instrumentalist, vocalist and composer Fulco Ottervanger, and described by Bandcamp Daily as a 'very fun mix of modern jazz and krautrock.'

Don Kapot strike hard with their fourth album, mixed and co-produced by Greg Saunier (Deerhoof). Using a wide range of instruments, they evolve their sound into a solid complex rhythmic wave, shaken by demented samples and punk attitude.

From the vibrant, pounding rhythms of opening track 'Me Pig' to the off-kilter, whimsical beats of 'Macarona' and 'Terryble,' Don Kapot integrate new instruments and sounds into their repertoire, including keyboards and sampling. The groove remains a central element to the sound as the trio deliver a palpable blend of high tension and joyous energy where genres are demolished.

Elsewhere, the funk-heavy 'Bernadette' allows the magical, freestyle sax work of Perdieus take centre stage while 'Don Be No' is an urgent, flippant blast of vigour and zest before the album title track 'I Love Tempo' is an exhilarating and hypnotic journey that combines the freedom and verve of free jazz with the trance-like zeal of artists such as Tony Allen, Fela Kuti and Kologbo

Releasing their self-titled debut album in 2018 via Mr. Nakayasi Records, in 2021 they signed to Flemish record label W.E.R.F. Records and have released three albums under the label and have performed sold-out shows across Belgium and the Netherlands.

The players in Don Kapot also extend their musical adventures to other projects. Damianidis leads Punk Kong and has performed with Akira Sakata, Sakis Papadimitriou, Oghene Kologbo, Tony Allen, Baba Ani, Balasz Pandi and Gonzalo Almeida among others. Warmenbol was a member of The Unrevealed Society, Robbing Millions and M(h)ysteria. He also performs with Ruth Tafebe & the Afrosoul Messengers (with Giotis), Under The Reefs Orchestra and Monolithe Noir. Perdieus performs in Punk Kong and with Pompelmoes and The Milk Factory and took part in Ifa y Xango, Laia Arkestra, Bolhaerd, Nest and VVolk. He has also recorded and played with Andrew Cyrille (Bambi Pang Pang).

'Low Cut Connie's ART DEALERS' is the soundtrack to a unique hybrid-genre concert film starring the musician and rock n roll performance artist Low Cut Connie, depicting a stunning 3-show run in 2022 New York City. The concert is set against 5 years of documentary footage that explores the struggle, frustrations, and humor of living a working class "art life" in modern America.

ANTI- Records is honored to share a never-before-heard album by Mark Linkous of Sparklehorse titled Bird Machine. Originally recorded in 2010 and mixed by Mark Hamilton (who also worked on It"s A Wonderful Life), Mark"s brother Matt notes "great care has been taken to archive and preserve Mark"s music.

We are very thankful for Mark and the beauty he brought to this world." Sparklehorse was an American indie rock band formed by singer-songwriter and multi-instrumentalist Mark Linkous in the mid-1990s.

Born on September 9, 1962, in Arlington, Virginia, Linkous began playing music as a teenager. Described as an artist who "compelled listeners to heed the beauty of darkness" by Pitchfork, Sparklehorse released many influential records, including the renowned albumsn Vivadixiesubmarinetransmissionplot and Good Morning Spider in the "90s, It"s A Wonderful Life and Dreamt for Light Years in the Belly of a Mountain in the early aughts, and a collaborative album Dark Night of the Soul released in 2010.

Throughout his career Mark collaborated with thought provoking artists like Vic Chesnutt, Daniel Johnston, Tom Waits, Danger Mouse, and David Lynch.

While Mark recorded in various studios, collaborating with other musicians and producers, he did much of his work in his home studio, Static King, often playing and recording everything on his own. He was "very much kind of a working-class guy with a very poetic sensibility, who was drawn to artists like himself, who worked in isolation," said NPR Fresh Air"s Ken Tucker.

ANTI- Records is honored to share a never-before-heard album by Mark Linkous of Sparklehorse titled Bird Machine. Originally recorded in 2010 and mixed by Mark Hamilton (who also worked on It"s A Wonderful Life), Mark"s brother Matt notes "great care has been taken to archive and preserve Mark"s music.

We are very thankful for Mark and the beauty he brought to this world." Sparklehorse was an American indie rock band formed by singer-songwriter and multi-instrumentalist Mark Linkous in the mid-1990s.

Born on September 9, 1962, in Arlington, Virginia, Linkous began playing music as a teenager. Described as an artist who "compelled listeners to heed the beauty of darkness" by Pitchfork, Sparklehorse released many influential records, including the renowned albumsn Vivadixiesubmarinetransmissionplot and Good Morning Spider in the "90s, It"s A Wonderful Life and Dreamt for Light Years in the Belly of a Mountain in the early aughts, and a collaborative album Dark Night of the Soul released in 2010.

Throughout his career Mark collaborated with thought provoking artists like Vic Chesnutt, Daniel Johnston, Tom Waits, Danger Mouse, and David Lynch.

While Mark recorded in various studios, collaborating with other musicians and producers, he did much of his work in his home studio, Static King, often playing and recording everything on his own. He was "very much kind of a working-class guy with a very poetic sensibility, who was drawn to artists like himself, who worked in isolation," said NPR Fresh Air"s Ken Tucker.

Available only n Germany!

ANTI- Records is honored to share a never-before-heard album by Mark Linkous of Sparklehorse titled Bird Machine. Originally recorded in 2010 and mixed by Mark Hamilton (who also worked on It"s A Wonderful Life), Mark"s brother Matt notes "great care has been taken to archive and preserve Mark"s music.

We are very thankful for Mark and the beauty he brought to this world." Sparklehorse was an American indie rock band formed by singer-songwriter and multi-instrumentalist Mark Linkous in the mid-1990s.

Born on September 9, 1962, in Arlington, Virginia, Linkous began playing music as a teenager. Described as an artist who "compelled listeners to heed the beauty of darkness" by Pitchfork, Sparklehorse released many influential records, including the renowned albumsn Vivadixiesubmarinetransmissionplot and Good Morning Spider in the "90s, It"s A Wonderful Life and Dreamt for Light Years in the Belly of a Mountain in the early aughts, and a collaborative album Dark Night of the Soul released in 2010.

Throughout his career Mark collaborated with thought provoking artists like Vic Chesnutt, Daniel Johnston, Tom Waits, Danger Mouse, and David Lynch.

While Mark recorded in various studios, collaborating with other musicians and producers, he did much of his work in his home studio, Static King, often playing and recording everything on his own. He was "very much kind of a working-class guy with a very poetic sensibility, who was drawn to artists like himself, who worked in isolation," said NPR Fresh Air"s Ken Tucker.

Producer Scrappy Jud Newcomb and Cleaves teamed up for the third time in early 2022 between Covid surges to record a new batch of songs, Slaid's first in five years.

Familiar themes of struggle and resilience will be a surprise to no one. As Scrappy puts it, "This album speaks to the hopeful, the hard working, the battered, confused, and the sad. But above all to the believers in the city of freedom that we heard in the stories of our youth and all those FM radio hits."

The first single, "Through the Dark," was co- written with Slaid's long- time collaborator and life- long friend, Rod Picott ("Broke Down," "Take Home Pay").

Slaid describes it simply as "a song about offering comfort in hard times."
Joseph Hudak of Rolling Stone calls Cleaves "a master storyteller, one influenced not by the shine of pop-culture but by the dirt of real life."

"More than 20 years into his career, Slaid Cleaves just keeps getting better . . .

There are few contemporaries that compare. He's become a master craftsman on the order of Guy Clark and John Prine." - Austin Chronicle

Super Furry Animals waren eine der ersten Post-Alternative-Bands, die eine Reihe unterschiedlicher Musikgenres - darunter Power Pop, Punkrock, Techno und Progressive Rock - zu einem schillernden, melodischen und bewusst kunstvollen Rock & Roll verschmolzen.
Das von der Band selbst produzierte Album "Phantom Power", das 2023 sein 20-jähriges Bestehen feiert, ist zurückhaltender als die früheren Werke der Band. Das Album ist größtenteils von Pedal Steel, akustischen Gitarren und Gesangsharmonien durchzogen. Doch wer glaubt, dass die kreativen Kräfte erloschen sind, könnte sich kaum mehr irren. Gruff Rhys' Songwriting macht auf "Phantom Power" einen Schritt nach vorne, mit verspielten, auf Geschichten basierenden Texten über Schildkröten, Mingers, Ninjas und Kohlköpfe, die mit Zeilen über Tod, Strahlung und Krieg kontrastieren.

Diese Deluxe-Wiederveröffentlichung auf schwarzem, 180g 2LP-Vinyl mit Original-Artwork und gestanzter Hülle wurde sorgfältig von den Mixdown-Bändern neu gemastert und enthält Anmerkungen von Kurt Stern, dem ausführenden Produzenten des Albums. Wenn Sie noch
mehr Super Furries brauchen, ist das remasterte Album auch im 3CD-Format erhältlich, mit zwei CDs vollgepackt mit jeder Menge Bonusmaterial, darunter Out-Takes, Demos und Live-Versionen, von denen viele bisher unveröffentlicht waren.