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 In 2011, Toronto’s Fucked Up delivered an album
that chafed the edges of punk rock’s conceptual
boundaries - a set of songs that splayed freely into
unexpected instrumentation, psychedelic drift, and
situationist philosophy. Its ambition was limitless
and its run time opulent. Which is to say, they
made a concept album.
 Matador Records celebrate the 10th Anniversary of
Fucked Up’s titanic 78-minute early ‘10s
masterpiece, ‘David Comes to Life’, with a special
edition double LP reissue on lightbulb-yellow vinyl.
 ‘David Comes to Life’ is a story of lost love, global
meltdown, depression, bombs, guilt and madness.
Or is it? A modern-day morality tale set amid the
dour backdrop of a British industrial town in the
late ’70s, it’s a four-part play that follows the dark
moods and inner psyche of the titular hero. At the
same time, the reliability of the narrator gets called
into question. The tables are turned, responsibility
shifts, and the story goes meta. Of course, you
could always ignore the backstory and just listen to
a fiercely imaginative double album of blistering,
melodic rock ‘n’ roll shot through with all manner of
psychic weirdness.

Rough Trade Records announce the release of the
15th Anniversary edition of The Long Blondes’
debut album, the acclaimed ‘Someone To Drive
You Home’.
 The home of a host of indie disco classics with its
noir atmospheres and vivid storytelling - qualities
that saw the record inspire recent, generationcapturing movie ‘Giddy Stratospheres’ which takes
its name from The Long Blondes’ iconic single -
the Sheffield band’s first album managed that rare
trick of capturing the 2000s zeitgeist while leaving
a timeless artistic mark for the ages.
 Initially inspired by the frisson of the indie disco -
now, fittingly, a classic of low lit dancefloors
everywhere - ‘Giddy Stratospheres’ is The Long
Blondes’ sophisticated calling card. A swirl of
razor-sharp guitars and vivid storytelling, waltzing
melodies and burning vocals, the Sheffield band’s
2000s single fizzes with dancing, desire and the
most stylish sing-a-long you’ll ever hear.
 The Anniversary edition of ‘Someone To Drive You
Home’, which was originally released in November
2006 and was produced by Pulp member Steve
Mackey, comes as a gatefold double LP, pressed
on to red and yellow vinyl to mirror the album’s
artwork - a picture of actress Faye Dunaway
painted by frontwoman Kate Jackson. The edition
features the original record, plus 11 additional
tracks that the band used on B-sides.

"UMC celebrate the 50th anniversary of The Band’s classic fourth album, Cahoots, with an assembly of newly remixed, remastered and expanded 50th Anniversary Edition packages, including a multi-format Super Deluxe 2CD/Blu-ray/1LP/7-inch vinyl box set along with a 2CD and 180-gram half-speed-mastered black vinyl. All the Anniversary Edition releases were overseen by principal songwriter Robbie Robertson and sport a new stereo mix by Bob Clearmountain from the original multi-track masters. The box set and CD configurations boast a bevy of unreleased recordings, including Live at the Olympia Theatre, Paris, May 1971, a rousing bootleg partial concert consisting of 11 tracks culled from the initial throes of a European tour that found The Band perched at the top of their live game; and early and alternate versions of “Endless Highway” and “When I Paint My Masterpiece” along with six other early takes, outtakes, instrumentals, and stripped-down mixes.
Exclusively for this box set, Clearmountain has also created new Dolby Atmos and 5.1 surround-sound mixes of both the album and four bonus tracks, presented in high resolution on Blu-ray, alongside the new stereo mix. Every new audio mix has been mastered by Adam Ayan at Gateway Mastering. The lift-top box set also includes an exclusive reproduction of the Japanese pressing of The Band’s 1971 7-inch vinyl single for “Life Is A Carnival” b/w “The Moon Struck One” in their new stereo mixes; a 20-page booklet with new notes by Robbie Robertson and extensive insider liner notes by Rob Bowman; three classic photo lithographs, one each by Barry Feinstein, Richard Avedon (his infamous eyes-closed group portrait from the back cover) and noted New York artist/illustrator Gilbert Stone (who painted the still stunning stretched-out portrait of The Band on the album’s front cover); plus a wealth of additional material and other historical data from the original recordings sessions. The limited-edition 180-gram black vinyl release that features a tip-on jacket also contains a photo lithograph by Barrie Wentzell that’s unique to the package."

“We go round and round in the night and are consumed by fire” *

After their highly acclaimed 'Come La Notte' (2019) WOW are back with 'Falene' a special limited release, a flickering light in the dusk where the comedown is ecstatic, intense and staggering.
In between lockdown the Roma Est quartet played the liberating Meletao festival in the Simbruini Mountains in the middle of a forest. One night a moth (falena) started dancing above the fire attracted by the light and after a few twirls dived into the flames.
Somehow ‘Come La Notte’ anticipated many of the atmospheres and emotions we’d encounter during confinement and isolation; ‘Falene’ instead was born directly from those ashes, ghostly homes, clandestine get-togethers, an old farfisa saved from dust that sparked the initial motif of the album’s title-track, a somber march, a mini-opera that sways gently, sprinkled by the beautiful sax played by Gianlorenzo Nardi and by one of the most intense China performances layed down on tape, foreshadowed by Julie Normal’s Ondes Martenot that graciously elevates the ‘Anticoda’ intro.
Tropicantesimo’s remix of ‘Occhi Di Serpente’ breathes new life into ‘Come La Notte’s classic, elevating the hypnotic and extending the pure tribal force with one of the signature trademarks of the Pescheria crew. ‘Partirai’ sung by Leo Non again is WOW at its purest, escapism to the max encapsulated in a nugget of primitive rock’n’roll and 60s night clubbing. Folks, it’s time to start living again.

Nostalgia is a hell of a drug. No one in particular is renowned for that cliched statement, but when something is so universal, who cares who said it? And is there anything more nostalgia inciting than a blurry film, bursting with colours but aged just perfectly so that you know, it's from a past which will never return. Het Jaarronde, a 1977 short film by Dutch amateur filmmaker Jan van Keulen is a picture perfect study of Dutch rural life. Filmed at an observer's distance it, as the title states, follows the Netherland's throughout the year. It's not bombastic and grand like 1967's John Fernhout film, Sky Over Holland. Instead it's modest, even shy, as if afraid to document too much because to document means to acknowledge change and loss.

For the second time, Nous'klaer and The Netherlands Institute for Sound and Vision's RE:VIVE initiative have teamed up for a split 12" featuring two new film scores of Nous'klaer staple, Mattheis and newcomer Ranie Ribeiro. Each artist was given half the film to compose for, resulting in two sonically disparate pieces that are emotionally twinned. Mattheis offers a lush, heart melting wave of pianos and synths and field recordings to appease his own inner-nostalgia, as the images struck an immediate chord with his childhood and youth in Goeree Overflakkee, South-Holland.

Ranie Ribeiro, known under his solo moniker for his slamming chopped beats and earlier club oriented releases as D-Ribeiro unveils his talents as a harpist for the first time. His work, is an encapsulation of a calm autumn day. A work in the present rather than a reflection on the past. But as the day fades into night, one can't wish for it to stay, just a little bit longer, because who knows what tomorrow is going to bring?

Dave Lee dons his Sunburst Band trousers and calls in the vocal talents of Wayne Hernandez with this slice of Brazilian flavoured Jazz Funk ‘Listen Love’ - yes the Jon Lucien jazz dance favourite. The sizzling drums & percussion blend perfectly with the pulsating bassline that allows Wayne to scat and weave his way into the blissed out yet uptempo jazzy keys. For those thinking this would be an even better track if it had a flute solo, we’ve got you covered! with Dave Lee’s ‘Flute Reboot’ for that maximum Latin edged jazz-funk feel.

On the flip two people who need not introducing, Louie Vega & Josh Milan get frenzied on the drums and piano, as they up the ante and deliver a jazz dance fusion clocking in at 9 minutes. Their mix really works up a sweat in the second half as the groove and scatting lock together for an intense rhythmic workout. All in all a very impressive outing.

Black Truffle is pleased to announce Live Hubris, documenting the hypnotic and electrifying live performance of Oren Ambarchi’s 2016 LP Hubris by a fifteen-strong band at London’s Café Oto. Over three days in May 2019, Oto toasted Oren Ambarchi at 50/Black Truffle at 10 with Ambarchi and a large group of close friends and collaborators in a series of performances that interspersed existing projects with new collective endeavours, culminating with this: fourteen members of the extended Black Truffle family together on stage, joined by one special virtual guest, to translate the intricately studio-constructed layers of Hubris into a muscular live band workout.

Operating with only the bare minimum of pre-gig preparation after the planned afternoon rehearsal had to be wrapped up prematurely due to noise complaints, the gargantuan group lurches into motion with a 21-minute rendition of ‘Hubris Part 1’, powered by the pulsating electronics of Konrad Sprenger (the ‘ringmaster’ at the ensemble’s core) and no less than seven electric guitars spinning a web of intricately interlocking palm-muted polyrhythms. The layers of closely related but metrically distinct lines create ripples of shifting accents, flickering changes in emphasis that ricochet along the endless central pulse. Gradually building in density, this motorik continuum becomes the backdrop for the haunting tones of Eiko Ishibashi’s processed flute and an extended feature from long-distance guest Jim O’Rourke on guitar synth.

After the brief interlude of the second part, where Albert Marcoeur-esque guitar arpeggios accompany a halting attempt at phone conversation, the full ensemble gears up for the epic side-long rendition of ‘Hubris Part 3’. Now joined by the astonishing triple drum line-up of Joe Talia, Will Guthrie and Andreas Werliin, the layered pulse of the opening piece becomes a burning funk-fusion groove. Beginning on a medium simmer, the ensemble initially stick to its pulsating one-note mantra, over which Ambarchi unfurls a beautiful example of his signature shimmering Leslie-toned guitar harmonics, eventually joined by Ishibashi’s flute and some brooding, distorted dissonance from Julia Reidy’s guitar. Building steadily for the first nine minutes, the heat then rises dramatically with a first, gloriously loose chord change: with the all drummers now rolling and tumbling like a twice-cloned Jack DeJohnette circa 1970, Mats Gustafsson enters on baritone, his tortured roars and shrieks driving the band to peaks of insane intensity. Finally, the exhausted ensemble drops out, leaving only the jagged, skittering fuzz of Ambarchi’s guitar, brought to an abrupt conclusion at the command of crys cole. Arriving on hot pink vinyl with artwork by Lasse Marhaug and an extensive selection of live photos by Ivan Weiss and Fabio Lugaro, Live Hubris brings this ambitious and outrageous evening of music to the safety of the home stereo.

Previously unreleased on vinyl, ‘Sex O’Clock’ was
planned for release before Anita Lane’s untimely
death earlier in 2021 as a 20th Anniversary edition
of her timeless album.
 Initially released in 2001, ‘Sex O’Clock’ was
produced by Mick Harvey and features co-writes
with various Bad Seeds, along with unique
interpretations of other songwriter’s tracks
including Gil Scott-Heron’s searing ‘Home is
Where the Hatred Is’.
 Known for being one of the most creative forces to
come out of Melbourne’s post-rock scene, Anita
came to London in 1980 with The Birthday Party.
Credited as a co-founder of Nick Cave’s Bad
Seeds, Lane exerted a strong influence over the
band and co-wrote the universally acclaimed ‘From
Her To Eternity’ and the haunting ‘Stranger Than
Kindness’, whilst also collaborating with the likes of
Barry Adamson, Einstürzende Neubauten, Die
Haut and Mick Harvey on his celebrated Serge
Gainsbourg albums.
 First time on vinyl. Includes a printed inner sleeve
with lyrics and digital download code.

 The seven-headed Aussie rock beast King Gizzard & The Lizard
Wizard return with a new vinyl edition of ‘Fishing For Fishies’,
perhaps their most perfectly-realised album to date.
 The Eco Edition has been pressed on Eco-Mix vinyl and is housed
in a brown paper bag after previous pressings quickly sold out.
 Released on the band’s own Flightless Records, here is a world
where the organic meets the automated; where the rustic meets
the robotic. Where the past and future collide in the beautiful
present.
 ‘Fishing For Fishies’ is a blues-infused blast of sonic boogie that
struts and shimmies through several moods and terrains. From the
soft shuffle Outback country of the opening title track through the
sunny easy listening of ‘The Bird Song’ (think a lysergically-soaked
Laurel Canyon circa 1973) and on through the party funk of
‘Plastic Boogie’ (which somehow summons the spirit of Stevie
Wonder’s ‘Innervisions’) the road-trucking, Doors-like highway
rock of ‘The Cruel Millennial’ and ‘Real’s Not Real’ - what
Carpenters might have sounded like had they existed entirely on
vegemite and weed - it’s a dizzying, dazzling display which
addresses a number of pertinent environmental issues along the
way.
 “We tried to make a blues record,” says frontman Stu Mackenzie.
“A blues-boogie-shuffle-kinda-thing, but the songs kept fighting it -
or maybe it was us fighting them. Ultimately though we let the
songs guide us this time; we let them have their own personalities
and forge their own path. Paths of light, paths of darkness. This is
a collection of songs that went on wild journeys of transformation.”
 Quiet though it was on the record front, 2018 was hardly a year of
rest for King Gizzard & The Lizard Wizard. In almost perpetual
motion, the band continued their unstoppable rise as their
juggernaut of a live show grew and grew and grew, with a mindblowing headline slot at Green Man Festival, a massive sold-out
US tour in the summer which saw them play their biggest venues
to date, a brain-frying sold out Brixton Academy show, two gigs in
Russia and Istanbul where they played in front of over 15,000
people and putting on the fourth edition of their annual Gizzfest in
Melbourne amongst the highlights.

Weeks before the world went into lockdown, King
Krule had performed a handful of European shows
which featured tracks from his critically acclaimed
third album ‘Man Alive!’.
 Performed with a ferocious intensity, these
recordings offer fans a glimpse into a live tour that
never was, while also reminding them of the artist’s
unique stage presence and incredible
performances delivered across his entire
catalogue.
 Available on CD and double LP, ‘You Heat Me Up,
You Cool Me Down’ features a setlist of 17 songs
that span the acclaimed artist’s entire discography,
including fan favourites ‘Easy Easy’, ‘Baby Blue’,
‘Out Getting Ribs’ and more.

Baltimore, Maryland’s Angel Du$t have announced details of their new album ‘YAK: A Collection of Truck Songs’, which will be released on CD on 10th December on Roadrunner Records and the band have also shared the new song ‘Big Bite’, which is joined by a music video directed by Ian Shelton.

Vocalist / guitarist Justice Tripp commented, “People get really married to the idea of making a record that sounds like the same band. If one song to the next doesn’t sound like it’s coming from the same band, I’m ok with that.”

Put simply, Angel Du$t are the guys who do whatever you don't expect.

Produced by Rob Schnapf (Kurt Vile, Elliott Smith), ‘YAK: A Collection of Truck Songs’ follows Angel Du$t’s 2019’s album ‘Pretty Buff’, and sees the group channelling an anything-goes philosophy into their tightest, most forward-thinking material yet. Recorded over a two-month period in Los Angeles last year, the album is a rotating smorgasbord of percussion, guitar tones, effects, genres, and influences, fashioned in the spirit of a playlist as opposed to a capital-R ‘Record.’ The album’s 12 tracks span jangle-rock gems (‘Big Bite’), piano-spiked power pop (‘No Fun’), and a breezy duet with Rancid’s Tim Armstrong (‘Dancing On The Radio’).

‘YAK: A Collection of Truck Songs’ also features ‘Love Is The Greatest’, ‘All The Way Dumb’, ‘Turn Off The Guitar’ and ‘Never Ending Game’, all of which appeared on Angel Du$t’s 2021 EP ‘Bigger House’,

Breezy but determined as they imbue their laid-back acoustics with sharpness, Angel Du$t continue to prove they are band averse to boundaries. The band’s Roadrunner Records debut ‘Pretty Buff’ was produced by Will Yip and earned the band critical acclaim. Widespread international attention included UK praise from Kerrang! (“13 super-accessible, honest and artfully crafted songs… there’s lots to love about them”), NME (“the fun-first hardcore group bringing ‘90s pop-rock to the pit”) and The Line of Best Fit (“a cacophony of good times and soul”).

Nate Smith Recruits Special Guests Vernon Reid, Brittany Howard, Kokayi, Joel Ross, Michael Mayo, Stokley, AmmaWhatt and Regina Carter for Kinfolk 2, the successor to his Grammy-nominated debut.
Kinfolk 2: See the Birds is the highly anticipated follow-up to the 2017 Grammy-nominated album Kinfolk: Postcards From Everywhere. Featuring the diverse and all-star talents of Brittany Howard, AmmaWhatt, Joel Ross, Kokayi, Michael Mayo, Regina Carter, Stokley and Vernon Reid, Kinfolk 2: See the Birds is the inspired and emphatic album that exemplifies Nate's artistry as one of the most exciting, dynamic and innovative drummer-composers of his generation, adept across multi-genres and styles. Taking inspiration from his teenage years spent absorbing the diverse and eclectic riches of Prince, Michael Jackson and Living Colour. Kinfolk 2: See the Birds is a multi-faceted jewel and is set to be one of the most significant albums of 2021. Nate is one of the most important artists in the progressive jazz world (Kamasi Washington, Makaya McCraven, Shabaka Hutchings, Robert Glasper, and Nate Smith) He's a torchbearer of progressive music / "one of the faces of progressive jazz" His profile / reach is significantly larger than that of his peers (larger than most successful pop/mainstream artists too) Nate accesses wider audiences by seamlessly operating in the jazz and mainstream/pop worlds. Nate operates in a unique space within the progressive world because of his drumming, his collaborations with Brittany Howard and the Fearless Flyers (Vulfpeck spinoff), his recording work with famed producers Dave Cobb and Mike Elizando, and his talent as a composer/arranger/producer. He also brings a "grown" R&B element to his music the Makaya, for example, does not. Nate Smith is an icon. He represents where jazz as a genre is going and is easily one of the most important artists you can cover in 2021/2022.

Drawn from three sessions in 1958–59 that featured The Incredible Jimmy Smith in a quartet with tenor saxophonist Percy France, guitarist Kenny Burrell, and drummer Donald Bailey, Home Cookin’ stands as one of the most deeply soulful albums the Hammond B3 organ virtuoso ever made. The band gives a soul jazz symposium that covers tunes by Ma Rainey, Ray Charles, and Jimmy McGriff along with originals by Smith and Burrell. This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Back in 1994, when Lambchop first lurched lackadaisically into public view, they seemed to many people freakish, outlandish, destined at best for the pages of photocopied fanzines and the graveyard hours of specialist radio stations. A sprawling collective of Nashville musicians —eleven were credited on the sleeve of I Hope You’re Sitting Down / Jack’s Tulips, one of them apparently responsible for “open-end wrenches” —they’d named themselves after a sock puppet, inexplicably given their album two titles, and stuck a painting on the cover of a small, barefooted child holding a dog whose cock and balls are on proud display. Perhaps to counteract this bold depiction of canine masculinity, the inner sleeve offered a black-and-white shot of what the more refined sometimes call a “lady garden.” The back cover offered a painting detail of a wedding dress. So far, so weird.

Where Lambchop brought us was somewhere so singular and bewilderingly gripping that — to perhaps no one’s greater surprise than
the band themselves, whose homeland remained baffled for quite some years to come — the album ended up in British music paper NME’s Top 50 Albums of the Year. In case anyone were to consider this an anomaly, France’s similarly influential Les Inrockuptibles placed it at number 25 on their own list. Not bad for a band who had gathered since the mid-1980s, once a week, purely for pleasure, in that smoky, dimly lit basement. Not bad, either, for a record whose sessions were initially only expected to produce enough material for a handful of 7 -inch singles. Disheveled yet tender, anarchic yet intricate, I Hope You’re Sitting Down / Jack’s Tulips instead provided the springboard for a career — still ongoing, despite repeated reinventions, and still compelled by stubbornly freakish, outlandish intentions — during which Lambchop’s ever-changing line-up has continued to confound expectations. Wagner, meanwhile, remains one of our most cryptic but crucial voices, an authentic poet of the magical banal. Sure, it was weird here, but it was wonderful, too. Over a quarter century later, it still is.

Mouth Congress – friends Paul Bellini and Scott Thompson of Kids In The Hall fame - wrote and recorded hundreds of songs in the ‘80s with - out ever putting out a proper release. Alongside various cohorts and conspirators, the band drew on their experiences as gay men to craft hilariously crude punk songs that run the gamut of strange characters and taboo subject matter. Their rag tag approach to songwriting blended various styles from noisy punk to lo-fi new wave and DIY disco, all with a very gay bent. Without trying, they were surprisingly cutting edge.

Mouth Congress did dozens of live shows through the mid-80s that gained a reputation for being theatrical, combining props, sets, multiple costume changes, unusual song choices, guest stars, and Scott’s stand-up comedy. In 1988, they recorded a 7-song demo tape. The tracks were recorded quickly, as the Kids in the Hall were about to go to New York City to develop their material. Then, caught up in the excitement of the Kids in the Hall being signed to television, Mouth Congress activities slowed to a crawl.

In 2011, Paul dug out an old VHS tape of one of the live shows. The sight of one of the Kids in the Hall covered in sweat, writhing on stage like Iggy Pop, was something he felt comedy fans might enjoy seeing. Naturally, Scott agreed and they uploaded everything - over 600 recordings - onto Bandcamp. One day in 2019, Mike Sniper of Captured Tracks stumbled upon the Bandcamp page, got in touch, and suggested assembling a compilation of the best recordings to be officially released for the very first time.
Waiting for Henry is a collection of 29 tracks over 2 LPs with a booklet of interviews and ephemera from one of the ‘80s
last queercore bands.

Who is Henry? We don’t really know, but we certainly hope he shows up soon.

CAM Sugar is proud to present the first physical release, on LP and double CD, of the original soundtrack to the TV series “MEDICI - MASTERS OF FLORENCE” (2016-2019), that received international praise following the Netflix distribution. The original score composed by Paolo Buonvino brings the Italian Renaissance back to life. The soundtrack mixes traditional instruments belonging to classical music (a common practice with historical dramas) with smooth electronic elements, allowing the listeners to take a journey of exploration through one of the most exciting periods of European history as much as into one’s intimacy.  The result is a score that is impactful and enjoyable for a broad audience, also thanks to the voice of Skin (Skunk Anansie), who performs “Renaissance” and “Revolution Bones”, respectively the theme songs to season 1 and season 2 & 3. The LP version offers a selection of the best tracks composed for the 3 seasons, while the double CD edition features the series’ complete soundtrack.

Limited Picture Vinyl

Fierce electro by Human Rebellion on their first release! A heavy 6 track picture disc Mini album that hits hard and relentless. Dark atmospheres and raw heavy beats that topped with cold and percussive basslines, hypnotic arpeggios, sci-fi textures straight out of their modular and analog synths. Essential stuff for those who like powerful and energetic 90's electro-techno rotted in the early 90's. Beautiful debut release from Belgium!

Brooklyn based drummer/producer Jason Nazary (of Anteloper) makes his We Jazz Records debut with "Spring Collection", released on 25 June. The album sees Nazary crafting some deliciously sparkly solo cuts plus working long disctance with choice collaborators Jaimie Branch, David Leon, Ramon Landolt, Matt Mitchell, Grey McMurray and Michael Coleman. This is essentially a collection of home recordings and the whole operation has an infectious feeling of immediacy to it. The result is improv adjacent electronic music, with modern production aesthetics transposed over spontaneous compositions.

Jason writes:

"With Spring Collection, my aim was to capture the spirit of spontaneity & collaboration lost in the absence of live music. Like most everyone else last spring, I suddenly had a lot of time on my hands and with all my work cancelled, and with an indefinite lockdown in effect, it became immediately apparent that most of my time – save a walk or two a day around the neighborhood – would be spent in the tiny one bedroom apartment I share with my wife and two cats.

What kind of music does one make during lockdown? I would begin my days with a cup of coffee and all the cables of my modest little modular set up in my lap, slowly discovering new sound worlds as I connected one cable after another – these became the beginnings for the pieces in Spring Collection. With these unformed sketches, I would record an improvisation, an exploration of sonics: a small kit of bells, shakers, pans, pots; their resonance captured in fine detail with ultra sensitive microphones. These became, in effect, a conversation first with myself, but later one I knew I had to open up, make social. In the desire not to diminish my collaborative impulses, I felt compelled to involve some of my favorite musicians in the process alongside me."

"Spring Collection" is released by We Jazz Records on 25 June on vinyl (neon orange & black vinyl editions), tape and digital formats. The vinyl edition comes with a booklet including original artwork and poetry by Todd Colby.

Straight from the depths of an unused Boston-area concrete laboratory comes the debut of Sweeping Promises. Written and recorded with a patented "single mic technique" just before quarantine, "Hunger for a Way Out", is a post-punk leaning gem of unpolished DIY sound. The title track kicks things off in absolutely classic fashion, full of spirited hooks that echo the early Rough Trade sound. Angular guitars and sharp synth notes float atop a raw rhythm section, while Lira Mondal's effervescent vocals truly define Sweeping Promises' sound.
There's something simple yet otherworldly about these tracks - you have the DIY prowess of Kleenex/LiLiPUT and Girls at Our Best!, a brooding new wave-y minimal synth sound woven in, and an undeniable pop-leaning appeal captured in vibrant monaural glory. It's hard to mistake these ten tracks of naturally urgent and driving post-punk for anything other than sheer brilliance. Sweeping Promises deliver in spades on "Hunger for a Way Out".

Pairing dreamy falsetto vocals on a smooth, languid groove that sounds like an undiscovered hip hop sample, 'Starchild' is the new EP by Common Saints. This will fly out the door, don’t be the one to miss it once it’s gone!

This is the first release of a new mysterious label WILDACRE. Straight from the eastern outskirts of the Netherlands.

3 tracks pure effective deep, dubby house & techno groovers on 180gr vinyl!

If it feels good, it feels good!

Wildacre is a long wishful and overdue project that finally sees the light of day.

Lets keep it Wild!



c B2 The Freakshow Dub Edit

Yellow Vinyl

From his early years on the music scene in Edinburgh, Theo Kottis has built a buzz as one of the UK's most exciting DJs. He is also the curator of his own unique sound, crafted on his Beautiful Strangers series, and gained clout from star DJs the world over.

The Mirror EP is fronted by a euphoric party track inspired by Kottis' lockdown yearning for "the kind of party where you don't stop dancing" - and crafted perfectly for this purpose. The raw energy of breaks and rave piano stabs is permeated by Busola's pep talk, getting the listener and the dancer geared up for the summer of release after a year of restrictions.

On the B Side, "Onda" takes its name from the Spanish word for waves. This is a blissed out relaxation after the intensity of the A-Side, an ode to an Ibiza poolside which still maintains a strong groove. Playful
pads pop out under sublime strings for an instantly nostalgic vibe.

Theo Kottis words on the release "Earlier this year during peak winter lockdown, craving the kind of party where you don't stop dancing, I took matters into my own hands, producing this new single "The Mirror", featuring Busola - who is the life of the party - to bring euphoric sounds to my living room and now to yours.

The thought of the impending "Summer of Love" got me through lockdown and I wanted to create something energetic and fun to mirror that excitement. I'd seen Little Gay Brother, the LGBTQ+ party and community perform at many festivals and knew their vibe would be an ideal source for this raw energy - I was introduced to Busola who provided the ultimate summer of self-love pep talk, something we all needed to get back out there post lockdown!

The second track is a nod to my summer escape to Ibiza where I played Pikes poolside and spent time in the sea and watching waves - "ondas" in Spanish - to reset and relax.

Essential Gerard P.J. Brown soul-disco-reggae-funk-fusion reissued officially for the first time and cut loud from the studio master tape onto 12” single via Backatcha Records. Hailing from St. Kitts and Nevis, percussionist and vocalist P.J. Brown originally produced and recorded ’Sexy Lady’ and ‘Keep Dancing’ for his sought-after 1982 self-released EP. Whilst the A-side was Soca-heavy, the B-side featured these two disco DJ-friendly gems performed and recorded alongside Browns’s G.I.’s Brass International bandmates at Ochoa Studio in Puerto Rico, a favoured recording location by musicians from the neighbouring islands. Bootlegged heavily on bad pressings, ’Sexy Lady’ finally gets a definitive quality release coupled by ‘Keep Dancing’, P.J. Brown’s other stand-out favourite amongst disco heads that has remained unobtainable until now.



Don’t wait, these always sell out on pre-sell fast.

February 2021. During a stay in an isolated house in the Alpes-de-Haute-Provence, I returned to four compositions Renaud Bajeux had sent me a few months prior. I had listened intently and enjoyed them very much, but in this new setting, at this very moment, they took on another dimension. For several days, I went on long walks in the surrounding nature and this album, all in half-light, became an obsession. In sync with the perfection of this moment, with this place, it began to haunt me from dawn till long past dusk. At times calming and meditative, at times wild, rugged, and maybe even dangerous, the music seemed to mirror the mountain landscape encircling me. It became evident that Seeking a Vision would be released on Fragments.

Seeking a Vision follows Renaud Bajeux’s first album, Magnetic Voices from the Unseen (Nahal Recordings, 2019), an exploration of electromagnetic fields. In this second opus, Bajeux works with the sound palette of a Serge synthesizer, combining its polymorphic sounds with field recordings of nature. The album’s four parts can be seen as a continuous mental journey through multiple layers of consciousness. Carried by whispering winds and the cracklings of a campfire, they proceed toward meditative states and obscure inner landscapes.

Seeking a Vision was recorded during an INA GRM residency. Elevation was commissioned by the INA GRM.

Renaud Bajeux is a French composer and film sound designer. His work his primarily based on field recordings and modular synthesizers. It can be located at the crossroads of electroacoustic music, noise, and ambient. Renaud Bajeux’s most recent release is a duet with Antoine Gilloire titled Underwater Soil (Superpang, 2021).

All tracks performed and composed by Renaud Bajeux. Mastered by Stephan Mathieu. Artwork by Morgan Cuinet. Layout by Romain Barbot.

The Blind Date Party hosted by Bill Callahan and Bonnie ‘Prince’ Billy
and featuring AZITA, Matt Sweeney, Alasdair Roberts, Matt Kinsey,
Sean O’Hagan, Bill MacKay, George Xylouris, Dead Rider, David Pajo,
Mick Turner, Meg Baird, Ty Segall, Emmett Kelly, Cory Hanson, Six
Organs of Admittance, David Grubbs, Cassie Berman, Cooper Crain and
Sir Richard Bishop happened online in the autumn and winter of 2020 -
2021 but the party planning dated back to the spring of 2020.
 Stuck at home, with no gigs in the foreseeable future, Bill, Bonnie and
Drag City needed an outreach program to keep themselves busy, not to
mention sane. In the absence of any company or anything on the
calendar, playing songs they loved was an idea; playing with people they
loved, the desire. And making it fun - so pairing someone with someone
else having no say in the matter, the essence of the blind date, was the
plan. Favourite songs were chosen; players from around the Drag City
galaxy were messaged. Pretty soon, songs were flying back and forth -
music in the air.
 By autumn, the songs started to appear online: Bill and Bonnie singing a
song by someone they loved and admired; each song cut by another
artist they loved and admired, then sent to Bill and Bonnie to provide the
finishing touches. The spotlight pointed in every direction each week:
toward the singers and writers who’d originally played the songs (Yusuf
Islam, Hank Williams Jr., Dave Rich, The Other Years, Billie Eilish,
Steely Dan, Lou Reed, Bill Callahan, Jerry Jeff Walker, Robert Wyatt,
Lowell George, Johnnie Frierson, Air Supply, Will Oldham, Leonard
Cohen, David Berman, Iggy Pop and John Prine), toward their featured
collaborators, the artists whose artwork adorned each digital single and
videos made by still more collaborators.
 Like the best parties, it turned out to be everything and more than they’d
even hoped for. So many more people were involved in the process that
would on the page here. Suffice to say, making records over the years
has required a broad sense of community and an always-surprising mix
of independence and unity, inspiration and utility. Some of the best
memories are those where as many of our folks as possible were
together in one place at one time. The Blind Date Party was one of
these, maybe the most improbable one yet. It’s for everyone who’s here
and it’s in the name of everyone who’s gone but will never go and will
always live with us here. This album will too.

The Blind Date Party hosted by Bill Callahan and Bonnie ‘Prince’ Billy
and featuring AZITA, Matt Sweeney, Alasdair Roberts, Matt Kinsey,
Sean O’Hagan, Bill MacKay, George Xylouris, Dead Rider, David Pajo,
Mick Turner, Meg Baird, Ty Segall, Emmett Kelly, Cory Hanson, Six
Organs of Admittance, David Grubbs, Cassie Berman, Cooper Crain and
Sir Richard Bishop happened online in the autumn and winter of 2020 -
2021 but the party planning dated back to the spring of 2020.
 Stuck at home, with no gigs in the foreseeable future, Bill, Bonnie and
Drag City needed an outreach program to keep themselves busy, not to
mention sane. In the absence of any company or anything on the
calendar, playing songs they loved was an idea; playing with people they
loved, the desire. And making it fun - so pairing someone with someone
else having no say in the matter, the essence of the blind date, was the
plan. Favourite songs were chosen; players from around the Drag City
galaxy were messaged. Pretty soon, songs were flying back and forth -
music in the air.
 By autumn, the songs started to appear online: Bill and Bonnie singing a
song by someone they loved and admired; each song cut by another
artist they loved and admired, then sent to Bill and Bonnie to provide the
finishing touches. The spotlight pointed in every direction each week:
toward the singers and writers who’d originally played the songs (Yusuf
Islam, Hank Williams Jr., Dave Rich, The Other Years, Billie Eilish,
Steely Dan, Lou Reed, Bill Callahan, Jerry Jeff Walker, Robert Wyatt,
Lowell George, Johnnie Frierson, Air Supply, Will Oldham, Leonard
Cohen, David Berman, Iggy Pop and John Prine), toward their featured
collaborators, the artists whose artwork adorned each digital single and
videos made by still more collaborators.
 Like the best parties, it turned out to be everything and more than they’d
even hoped for. So many more people were involved in the process that
would on the page here. Suffice to say, making records over the years
has required a broad sense of community and an always-surprising mix
of independence and unity, inspiration and utility. Some of the best
memories are those where as many of our folks as possible were
together in one place at one time. The Blind Date Party was one of
these, maybe the most improbable one yet. It’s for everyone who’s here
and it’s in the name of everyone who’s gone but will never go and will
always live with us here. This album will too.

Killswitch Engage first shook the structure of heavy music upon climbing out of snowy industrialized Western Massachusetts in 2000. A musical outlier, the band pioneered a union of thrashed-out European guitar pyrotechnics, East Coast hardcore spirit, on-stage hijinks, and enlightened lyricism that set the pace for what the turn-of-the-century deemed heavy. 2002’s Alive Or Just Breathing became avowed as a definitive album, being named among “The Top 100 Greatest Metal Albums of the Decade” by Decibel and celebrated by everyone from Metal Hammer to Revolver. Not only did they bust open the floodgates for dozens to follow, but they also garnered two GRAMMY® Award nominations in the category of “Best Metal Performance” in 2005 and 2014, respectively, and gold certifications for The End of Heartache (2004) and As Daylight Days (2006). The group landed three consecutive Top 10 debuts on the Billboard Top 200 with Killswitch Engage (2009), Disarm The Descent (2013), and their career high best bow at #6 with Incarnate (2016). The latter two releases would also both capture #1 on the Top Rock Albums and Top Hard Rock Albums charts. Their total streams have exceeded half-a-billion to date. Along the way, the boys have shared stages with some of the biggest acts in the world and have sold out countless headline gigs in six continents across the globe.
In 2019 the quintet—Adam Dutkiewicz (lead guitar), Joel Stroetzel (rhythm guitar), Mike D’Antonio (bass), Justin Foley (drums), and Jesse Leach (vocals)—sharpened every side of this signature sound on their eighth full-length and first for Metal Blade, Atonement. The vision they shared two decades ago crystallizes like never before as evidenced by the first single “Unleashed,” “The Signal Fire” (feat. Howard Jones), “Crownless King” (feat. Chuck Billy), and “I Am Broken Too.”

The multiple award winning action-adventure game God Of War was first released in
2005, but became such an instant hit, that Santa Monica Studio created seven more versions of the game. The most recent one, released in 2018 for the PlayStation
4, focusses on main character Kratos’ journey in the Greek world together with his son Atreus, following a path of vengeance as a result of being tricked into killing his family by Olympian gods.

God of War received universal acclaim for its story, design, graphics, combat system, characters and music. It was awarded ‘Game of the Year’ by numerous media outlets and award shows. God Of War (2018) performed well commercially, selling over five million copies within a month after its release. It became one of the best-selling PlayStation 4 games.

The official soundtrack won a BAFTA Award and is composed by Bear McCreary. It is set up around themes he created around primary characters in the game. Inspired by Viking folk music, McCreary used exotic instrumentation and languages from various Northern European folk traditions. It resulted in a score featuring deep choirs, pounding drums, shrieking brass and features Faroese singer-songwriter Eivør (Pálsdóttir). The American composer Bear McCreary is best known for his work on TV shows like Battlestar Galactica, Outlander, The

‘The Alienist: Angel Of Darkness (Original Series
Soundtrack)’ is now available on vinyl.
 The album features music by Ivor Novello Awardwinning composer Bobby Krlic (The Haxan Cloak).
 The album is pressed on blue vinyl, with a deluxe
spined sleeve with deboss artwork and the vinyl itself
housed in its own double sided inner sleeve. Digital
download card included.
 Bobby Krlic is an award-winning British artist,
composer and music producer based in Los Angeles.
Over the past decade, Krlic has created music under
the The Haxan Cloak, releasing two critically
acclaimed full-length albums (2011’s ‘The Haxan
Cloak’ and 2013’s ‘Excavation’) and touring
extensively as a solo artist building a devout fanbase.
As a producer, Krlic has worked with artists including
Björk, Khalid, Troye Sivan, Goldfrapp, serpentwithfeet,
The Body and noise-rock band HEALTH.
 Krlic scored Ari Aster’s 2019 horror film ‘Midsommar’,
earning him an Ivor Novello Award for Best Original
Film Score. Last year, he made new music for ‘Red
Dead Online’ and also co-produced Father John
Misty’s ‘To S.’ and ‘To R.’.
 An unflinching, gripping, turn-of-the-century murder
mystery that traverses both New York’s wealthy elite
and the struggling underbelly of the city’s ‘Gilded Age’,
‘The Alienist’ follows Dr. Laszlo Kreizler (Daniel Brühl),
a brilliant and obsessive ‘alienist’ in the controversial
new field of treating mental pathologies.

We are extremely excited to announce that Licorice Pizza: The Original Motion Picture Soundtrack will be released on Friday 10rd December 2021 on both CD + Vinyl. Licorice Pizza is the story of Alana Kane (Alana Haim) & Gary Valentine (Cooper Hoffman) who grow up & fall in love in San Fernando Valley (1973). Written & directed by filmmaker Paul Thomas Anderson. Sean Penn, Bradley Cooper, Tom Waits & Benny Safdi also star. Limited movie release in the U.S. Nov 26 and goes wide in US on Dec 25. Radiohead's Jonny Greenwood composed the film's score & Paul Thomas Anderson curated the soundtrack also features songs by David Bowie, Paul McCartney and many more to be revealed. The title pays homage to the California record store, Licorice Pizza.





[d] 4 Ac–Cent–Tchuate The Positive (Single Version) [feat. Vic Schoen & His Orchestra] – Bing Crosby & The Andrew Sisters
[e] 5 Blue Sands [feat. Buddy Collette] – Chico Hamilton Quintet

[g] 7 My Ding-A-Ling (Live At Fillmore Auditorium, San Francisco, CA/1967) [feat. Steve Miller Band] – Chuck Berry

"On May 15th 2021 Paul Weller performed an exceptional concert with the hugely talented BBC Symphony Orchestra and award winning arranger Jules Buckley.

This extraordinary performance was a first for Paul, performing with a full orchestra, and saw a quintessential selection of his vast catalogue exquisitely reworked and updated into 75 minutes of breath-taking music that was broadcast across the BBC.

Bleach Lab have shared details of their second EP, ‘Nothing Feels Real’. The South London band made their return in July with single ‘Real Thing’, hinting that more music was to come. Receiving similar acclaim as the band’s debut EP, which saw them rise to prominence, ‘Real Thing’ received support from 6Music as well as the likes of Line of Best Fit (Song of the Day), DIY, Gigwise and many more.

Bleach Lab have shared details of their second EP, ‘Nothing Feels Real’. The South London band made their return in July with single ‘Real Thing’, hinting that more music was to come. Receiving similar acclaim as the band’s debut EP, which saw them rise to prominence, ‘Real Thing’ received support from 6Music as well as the likes of Line of Best Fit (Song of the Day), DIY, Gigwise and many more.

He's back! After nine years away from the big screen, the Big G reappeared for his 30th anniversary in THE RETURN OF GODZILLA. Produced by Godzilla's creator Tomoyuki Tanaka and directed by Koji Hashimoto, the picture returns the uber-kaiju to the ultimate antagonist he was always intended to be. Watch as he devastates Tokyo after being resurrected by an underwater volcano and thrill to the dramatic and explosive musical score by Reijiro Koroku!

Having previously worked with Studio Ghibli's Hayao Miyazaki and Isao Takahata, Koroku was the perfect choice to score the Big G's triumphant return, creating no less than three themes for everybody's favourite kaiju. Listen to the rumbling low-frequencies and powerful brass attacks as he ravages a power plant and fights the Japanese Self Defence Forces (JSDF) and swoon to the love theme for Maki and Naoko. Koroku also wrote exciting pieces for the JSDF and the Super-X, a particular machine designed to fight Godzilla. Still, it's his respect and reverence for the Big G that makes THE RETURN OF GODZILLA such a success. The score ends with vocalists The Star Sisters lamenting Godzilla's disappearance, cementing the place he has in our hearts. "Take care now, Godzilla, my old friend."

We are extremely excited to announce that Licorice Pizza: The Original Motion Picture Soundtrack will be released on Friday 10rd December 2021 on both CD + Vinyl. Licorice Pizza is the story of Alana Kane (Alana Haim) & Gary Valentine (Cooper Hoffman) who grow up & fall in love in San Fernando Valley (1973). Written & directed by filmmaker Paul Thomas Anderson. Sean Penn, Bradley Cooper, Tom Waits & Benny Safdi also star. Limited movie release in the U.S. Nov 26 and goes wide in US on Dec 25. Radiohead's Jonny Greenwood composed the film's score & Paul Thomas Anderson curated the soundtrack also features songs by David Bowie, Paul McCartney and many more to be revealed. The title pays homage to the California record store, Licorice Pizza.





d 4 Ac–Cent–Tchuate The Positive (Single Version) [feat. Vic Schoen & His Orchestra] – Bing Crosby & The Andrew Sisters
[e] 5 Blue Sands [feat. Buddy Collette] – Chico Hamilton Quintet

[g] 7 My Ding-A-Ling (Live At Fillmore Auditorium, San Francisco, CA/1967) [feat. Steve Miller Band] – Chuck Berry

La Maison's story is essentially an oral one, like for many bands in those years. Casual encounters, records found and exchanged, demos recorded at home, live club shows in a country that in those years was changing socially and culturally at the speed of light, and was molding itself at the rate of a fluid modernity. The tracks of this album, Collected Tape Experiments 1980-1984 tell the story of a world where synthesizers and drum machines coexist and replace traditional rock instruments. Where homemade overdubs broaden the spectrum of sonic possibilities and the "cut and paste" of tapes is done, literally, by hand. A world in which the first infatuations for wave and industrial are contaminated with no prejudice by the rhythms and sounds of funk and disco. A milestone for those who want to understand the vibrant landscape of Italian music of the eighties, many times too hectic and elusive to be captured in real time. Twenty one tracks on CD and twelve on vinyl, most of them never published before, see the light of day more than thirty years after their creation. - Livia Satriano

Interiors, the title of this new release from Ultramarine, may have a topical resonance for many listeners who have found themselves in involuntary confinement during the past year, but the five tracks on this EP were actually recorded in 2011, and they represent a significant opening out of the duo's evolving musical perspective.

Ian Cooper and Paul Hammond, who had become friends while growing up together in the Essex countryside, formed Ultramarine in 1989. Throughout the 90s their distinctive music, an enticing blending of acoustic with electronic instruments, secured a loyal following and won critical acclaim. Then, throughout the whole of the next decade, Ultramarine lay dormant. Interiors documents their reawakening, with Cooper and Hammond exploring approaches to music-making made possible by recently developed software, designed specifically with live performance in mind.

Four of the five tracks to be heard here were issued digitally last year. But as Paul Hammond has pointed out, "with Ultramarine the whole point is to create an artefact, so the form and the look of the finished product is central." That's an outlook shared passionately by Simon Lewin's label Blackford Hill, and the music now available on this vinyl record is appropriately enhanced with cover art by printmaker Katherine Jones. Her imagery matches the music neatly in its nuanced interplay of solidity and shadow, line and colour, geometric form and organic growth.

Ultramarine returned refreshed in October 2011, bursting back into public awareness with "Find A Way," issued as a 7" single on their own label, Real Soon. Clive Bell, writing in The Wire, extolled its engaging mix of electronic beats with cool vocals and tropical percussion. More generally Bell embraced Ultramarine's thoughtful hybrid electronica as "music you could enjoy at home without feeling your intelligence was being scorned, or that if you were not physically in a club, you were wasting your time."

On Interiors, the roots of that slinky single are laid bare on the purely instrumental track "Find A Way Back." Its two distinct parts stretch out the beats and flaunt those tropical flourishes, shuffling and flexing, vibrant and heady, languid and sultry. This is techno filtered through the fabric of magic realism, an exotically spiced concoction, chilled and ready to be savoured at home.

With the diagrammatic clarity of its punchy thrust and spooling loops "Even When" distils the essence of Cooper and Hammond's way of working with their musical material: layering and shaping, nurturing textures, plaiting rhythms and juggling accents. The cumulative impact is almost sculptural in its physical immediacy and looming presence. In contrast, on "By Return" the duo skew the outcome, projecting a selection of limber figures into dub's auditory hall of mirrors. They are clearly revelling in the reverb, relishing the recoil and decay.

Interiors ultimately opens out onto "Decoy Point (Version)." With its ozone saturated ambience, this closing track evokes marshland and mudflat soundscapes, seabird mews, maritime signals and tidal wash. Cooper and Hammond feel deep attachment to the Essex landscape and, in particular, to the local history and physical features of the Blackwater estuary. Blackford Hill provides an accommodating home for Ultramarine's ongoing project Blackwaterside, which has featured to date a 7" vinyl record plus 28-page booklet, and a photo film with soundtrack. Now, delving into the Ultramarine archive, this welcome incarnation of Interiors offers a fascinating glimpse of the duo finding their bearings, at a vital stage along the way.

Jeff Parker's Forfolks - a new album of solo guitar works - was recorded by Graeme Gibson at Sholo Studio in Altadena, California (aka Jeff's house) over two days in June 2021. It includes interpretations of Thelonious Monk's "Ugly Beauty" and the standard "My Ideal," plus six original compositions including "Four Folks," "La Jetée" (a tune he recorded with Tortoise in 1998), and four totally new loop-driven, stratiform works that marry melodic improvisation with electronic textures. "It's a particular thing to hear Jeff play solo," writes veteran Chicago musician and longtime Parker collaborator Matthew Lux in his liner notes for Forfolks. "He is an unusually selfless improviser, oftentimes laying out and highlighting the contributions of his band mates... On this recording, however, he is by himself, joined only by his own ideas, looped or frozen, to flesh out the music he's creating in his mind. Hearing him craft entire sound worlds on these eight selections gives us an opportunity to really see how Parker orders sound." Forfolks follows Parker's critically acclaimed 2020 record Suite for Max Brown, which Pitchfork called an "effortlessly detailed album, full of tradition and experimentation that spans generations ... It lives at the vanguard of new jazz music." The album went on to debut at No. 1 on Billboard's Current Contemporary Jazz Chart.

160 gram clear red vinyl, glossy sleeve, Cititrax presents rare live recordings from Birmingham techno legend Regis. The 12" EP features recently uncovered recordings of Regis playing live in New York City on January 4th, 1997 at the famed New York Film Academy. Original tapes discovered by Evan Kreeger, studio work / transfers done by James Ruskin in London and audio mastered by Veronica Vasicka in New York. The EP will be pressed on 160 gram clear red vinyl and housed in a gloss sleeve, featuring text by Evan Kreeger. An excerpt is below: Gymnastics broke techno - first time performed ! Regis has recreated this show for you - from the tapes in storage Over twenty years later - You're welcome! You are born! Now you can say you were there - rather than Skavoovee chore Damage and flame was our desire for this fight Two fans rebuffed tossed cinderblocks thru the front doors that night Locking up the Film Academy was only pageantry and a lie Nothing secure anymore - just crouch down - on your knees - crawl inside"

Featuring a lush set of genreless aetheric applications that transmute the ineffable to pure sound through a series of immaculately designed, free-flowing haptic assaults on the auditory perception system.

Italian bass collective D-Operation Drop marks their debut on Dub-Stuy Records with “Pon Pause SP”, a heavyweight 12”single featuring legendary singer Al Campbell. Formed in 2010, the six members of D-Operation Drop have a wide range of experience and production styles, releasing on various labels such as ZamZam, Moonshine and Lioncharge. For their first collaboration with Dub-Stuy, they connected with the great Al Campbell, a singer with a storied career working with Studio One, Lee ‘Scratch’ Perry’s Black Ark, and more. Together, they crafted a modern steppers anthem that seamlessly connects old and new.

‘The Centre is Everywhere’ is our first album. We created it in rather extraordinary circumstances, at a time when we were all slowly sinking into the banal dystopia of a pandemic-stricken world. Our lives, it felt, had slowed to a crawl. Normally we’re fuelled by our audiences, but touring was off the menu. So, we made this record. For us, it was personal.

In such an uncertain time, we wanted to play music that we loved. We ended up with a set of work written over a 120-year period – weightless and transcendent new music alongside Schoenberg’s anguished fin de siècle storytelling.

Edmund Finnis’ work in particular (the titular ‘The Centre is Everywhere’) is important to us. He’s a friend and a colleague, and it’s been a profound experience for us to live with this piece, to tour it, and to make the first ever recording. Somehow in the writing of it, Edmund seems to have prefigured the lack of certainty that has been one of the defining characteristics of this period. His music spins freely through time and space, wraithlike and beautiful.

Whilst recording both ‘Company’ by Philip Glass and ‘Transfigured Night’ by Arnold Schoenberg, we found ourselves drawn to a pervading sense of wildness and nature. The hypnotic rise and fall of the rhythms and textures in Glass’ quartet (presented here in an arrangement for string orchestra) feel quite separate to industrial, man-made structures and forms. Like Edmund’s work, these short movements feel out of time and cyclical, like eternally repeating tides or moon-phases.

Schoenberg’s masterpiece for string sextet opens on a moonlit forest scene, two lovers venturing through a bare, cold grove. We’ve tried to create a recording that paints the violent contrasts of this piece as vividly as possible, from the claustrophobic confessions that open the work through to the gleaming sound world of the second half. As the piece closes, our wooden, earthbound instruments seem to have been transmuted by the glamour and glow of Schoenberg’s music. We finish amongst the stars.

Headline performance at this summer's BBC Proms at the royal Albert Hall

New solo record from Philip Frobos of Omni (Sub Pop, Trouble in Mind), this record is released in conjunction with a novel by Philip of the same name.

Philip Frobos' ‘Vague Enough to Satisfy’ will be released on 180g black vinyl - Only 500 Pressed Worldwide October 1st 2021. The novel will be published by Hex Enduction Books in Seattle on the same day.

‘Vague Enough to Satisfy’, is Philip Frobos’ debut solo album, it is also the original soundtrack to his debut novel of the same title. This lounge-inspired punk album acts as the musical bedrock for the story of a young man who revels in the day to day details (both romantic and mundane) of his experiences in Leipzig and Atlanta. The tone of the record reflects the tides of the protagonist’s confidence and self-doubt throughout the novel.
‘Vague Enough to Satisfy’ rushes straight to the point with it's bossa nova beat and seductive lo-fi musings. ‘Vague Theme’ opens the album with a groove reminiscent of ‘Whammy’ era B-52s while the vocals tell the story of a young romantic confused of his place within a relationship and the city around him.

‘Vacant Street’ proceeds with a hooky bassline, the revolving, cryptic sort that Frobos is known for as a member of Atlanta post-punks Omni. ‘No Packages Today’ is similarly sprightly and circuitous, sounding like the Au Pairs refining an obsession with Bowie’s ‘Lodger’. “I’m afraid that you need more than I can offer” opines Frobos bedecked by shuffling beats and burgeoning waves of saxophone. ‘Never Noticed’ and ‘Through with Buzz’ introduce notes of tension and intrigue to the frisson of the story, “you’re stuck in the same day” confesses Frobos in the former.

Instrumental tracks help to prolong an uneasy feeling of ambiguity too, with compositions like ‘Pool Disturbance’ and ‘Inflatable Flamingo’ taking their musical cue from Henry Mancini. Curious flourishes, a metronomic headiness and shuddering xylophones bring to life the intensely vivid imagery and cynical humor that suffuse the novel.

‘Pathetic’ collides the casual, magnetism of Serge Gainsbourg with tight Cars-style vocals and choruses. Meanwhile ‘Singer Not The Song’ and ‘Saturn Return’ showcase a more sedate approach, languid and arch. ‘Vague Enough to Satisfy’ is a trip, plunging you into a curious world populated by the unexpected.

‘Expressions of Interest’ is the debut album from Melbourne/Naarm post-punk group screensaver.

Sonically, the 10 track album is rich and detailed, and pays homage to its era of inspiration (late 70s-mid 80s post-punk and new wave) with gripping vocals, dissonant guitar, melodic basslines, washes of synths and motorik drumming. Engineered by Julian Cue alongside band member Chris Stephenson and recorded over multiple studio sessions between 2020-2021

The album opens with the ominously titled ‘Body Parts’, an immediately arresting song that showcases the bands penchant for blending classic post-punk elements, leaning into a sound somewhere between the Banshees and Protomartyr.

Maynard doubles down on these themes in the frenetic second track, ‘No Movement’. Guttural organ tones swim under overdriven guitar, jagged and intense. Additional textures and sound effects are used percussively to embellish the dynamics, creating a feverish atmosphere with some Martin Hannett like flourishes.

The album takes a surprising turn into electronic driven krautrock on track three with 'Buy, Sell, Trade' - a rollicking piece of danceable ephemera, dominated by swirling synth sounds and punctuated with electronics reminiscent of Sparks/Moroder collaborations. Chris Stephenson's masterful guitar work begins with Greg Sage-esque determination before a crescendo into a lush Frippertronics outro.

'MEDS' transports us back to the foundation established on 'Body Parts', a gothy piece, full of tribal toms and dirge-y synths. Industrial punk rock nearly swallowed whole by the keys in the middle and slowly building back to complimentary guitar and vocal hooks.

It's from this point in the album that the band let's their other influences rise to the surface, as they explore touches of EDM on 'Static State' - a brutal, death-disco style track, Krystal Maynard's lead synth and gloomy vocal complimenting the pounding drums and dub-esque bass line culminating in a track worthy of the dancefloor.


Opening side two we have 'Skin', beginning with a solid and simple backbeat, James Beck’s post-punk percussion provides a steady and minimal framework for the rest of the band to colour in with great depth and detail. Giles Fielke’s bass guitar wobbles brilliantly leading the verse melody, whilst Chris Stephenson’s guitar drives the chorus that folds neatly in on itself.

In ‘Attention Economy’, Krystal Maynard is flexible with her lyrical style, and knows how and when to lend her voice to the greater backdrop of the composition. ‘Attention Economy’ has an almost Kraftwerkian structure - repetitious, but engaging with its constant tom driven beat, lush synth lines and minimal bass tones.

Just when you thought things had slowed down, screensaver ramp things right back up again with ‘Overnight Low’ - a no holds barred thumper. Giles Fielke underpins the hard-edged sound with his bassline, keeping things smooth and tight. It brings to mind a hybrid of PiL’s ‘Annalisa’ and Wire’s ‘Two People In a Room.’

Before you can catch your breath, we have ‘Regular Hours’ - another industrial track, and perhaps the sister song to ‘Static State’ heard earlier on side one. Seething electronic drum samples cut through an abyss of growling synths, Giles Fielke hanging up the bass temporarily to accompany Krystal Maynard on synth duties.

The album closes with the fittingly titled ‘Soft Landing’, literally bringing the listener back down...softly. The song is heavy on atmos, and resembles the aesthetics previously encountered on ‘Attention Economy’ a few tracks earlier.

‘Expressions of Interest” was recorded at various locations across Melbourne, with a handful of songs being captured before the start of the Covid pandemic in January 2020. With the recording timeline being drastically altered, the band shifted focus to work on what would become their first single ‘Strange Anxiety’, throughout the first months of the Melbourne 2020 lockdown.

Initially released digitally on Christmas Day 2020 as a surprise gift to her fans, Tink's "A Gift and a Curse" was met with wide praise from fans and virtually every outlet. Celebrating the one year anniversary, Tink continues the holiday tradition with a limited edition exclusive pressing for her ride-or-dies. In keeping true to its title, A Gift and a Curse delivers themes of heartbreak, love, and all that goes in between.

Introducing Pruvan to Tectonic and to the world, with this debut EP of soundsystem smashing beats! Think – expertly crafted productions that effortlessly bring together some of the best elements from techno, D&B and dubstep. The US-born, Czech-based producer has carved a fresh space, bringing next level sounds together with finely tuned production skills.

Lead track Pozor sets the pace, just simple and effective, followed by a pick-up in tempo with Beastwoman; fiddly fun with Buckets and a vinyl exclusive tech-workout with All My Mites. The digital EP comes with 2 extra tracks, Raw Dawg & Yoji, providing bonus extra fire.

EPMD’s initial success in 1987 seemed to take a lot of people by surprise. Without build-up or fanfare, they launched this stunning debut 12” and, so ill-prepared were people for it, that the label was still misspelling their name.

Those early 12” copies of ‘It’s My Thing’ – and the hard to find UK 7” that followed shortly after – have them billed as EPEE MD. Before they were signed, they were going by EEPMD, but they decided to drop an E due to the success of the west coast’s Eazy E. The one person not surprised by their success, however, was hip-hop pioneer and producer Kurtis Mantronik, who actually signed them to Fresh Records.

It’s fitting that he’s the man that saw their promise, as he himself was one to go against the grain. His electro-influenced productions for Mantronix and Just Ice were ahead of their time, and perhaps in EPMD he saw kindred spirits. Because, at the time this dropped, hip-hop was going up tempo, taking its cue from James Brown samples and picking up the pace.

On both ‘It’s My Thing’ – underpinned by the languorous ‘Seven Minutes of Funk’ by The Whole Darn Family – and ‘You’re a Customer’, with its combination of ZZ Top and Steve Miller Band – Erick Sermon and Parrish Smith slow things right down. It gives their vocals time to breathe and allows us to enjoy the interplay of their metaphor and simile-heavy lyrics. As calling cards go, they don’t come any better than this.


• Stunning debut that has become a Hip Hop classic.

• Only previous 7” release very hard to find.

50th Anniversary Re-Edition - Includes Original Releasesheet Inlay - Original Release: 1972 - 2021 Re-Cut carefully overseen by Manuel Göttsching

We proudly announce the authorised 50th Anniversary Edition 2021 of the 1972 Original release , one of the most important German Krautrock albums in a 2021 Re-Cut carefully overseen by Manuel Göttsching himself. As for the info we refer to Julian Cope´s review in his “Krautrocksampler” Book, Publisher : Head Heritage (1 Oct. 1995) : “Beware of Schwingungen!” That should be the large sticker on the front of all copies of this record. For it is dangerous to be casually introduced to something that is life-changing, as I found out to my cost when first listening to this record. It all starts fairly simply and without any cause for alarm - “Look at Your Sun” begins with a Doorsy lone groover guitar begins a pedestrian blues, beautiful. Then the most crushed voice, a cross between Johnny Rotten and Tiny Tim, preaches its way into the proceeds. God, it is beautiful - John L. repeats over and over, “We are all one, we are all one”, until a howling fuzztone solo guitar blows the whole onechord “Signed D.C.” ringing-cymbals torture to an end. And then the most far out track of all begins. This is called “Flower Must Die” and it is a free-rock giant that transcends everything else in its field (there are no contenders.) As I’ve written before, PIL sounds like this. John L. was John Lydon in a previous incarnation. After a slow weird build, a frantic streamlined one-chord mantra kicks in and it’s like the Stooges’ Funhouse period but in a Righteous Vision Zone that fucks them right off.

All Them Witches have built a career out of playing music that cannot be pigeonholed into one specific genre.

‘Nothing As The Ideal’ was recorded in Studio 2 at the world famous Abbey Road with the help of longtime mixing engineer Mikey Allred. The history and vibe of that setting laid the groundwork for what was to come.

The band’s signature psychedelic blues riffs, relentless drums, melodic basslines and non-linear lyrics are all present.

The resulting album is a thought provoking headbanger that is the band’s most cohesive album to date.

140g black vinyl gatefold LP.

Repress -

Tension Music (from the depths of Melbourne, Australia) is extremely proud to present the first release on the label; Ad Nauseam - The Outer Limits 2020 TENSE001.

The inaugural release from Tension Music presents an array of new pounding reworks of the 303 fueled 2004 hard techno classic "The Outer Limits" by a selection of hand-picked underground artists that represent the spectrum of diverse and unrelenting acid and techno that inspired the inception and sound of Tension Music.

Tension Music 001 Features six new slamming acid and hard techno remixes by Ad Nauseam (AU), Mickey Nox (AU), Jack Wax (NL), Pzylo (FR), Krismix (FR), and Drumsauw (UK). The release also includes the carefully remastered original 2004 mix as a special bonus!

The special limited edition "Outer Limits Sci-Fi" colored vinyl will include the new remixes by Ad Nauseam, Jack Wax, Mickey Nox, & Pzylo. The digital release will also include the new remixes by Krismix and Drumsauw, as well as the remastered 2004 original.

For a duo whose youthful energy rejuvenated the world of house music at the start of the 2010s, it seems incredible that Disclosure are now into their second decade of musical life. The incredible vigour of those early records, the spark of invention and ever-onward musical thrust, remains with the Disclosure brothers, Howard and Guy Lawrence, to this day. The emphasis throughout DJ-Kicks is on motion. After a brief ambient introduction from Pépe's Life Signs, Disclosure keep the energy high, in a mix that showcases the wonderful malleability of a house beat in the right hands. From sub bass to disco samples, African funk to 303 tweak, all is welcome in Disclosure's house, with the mix allowing individual songs space to breath even as the pace remains harefooted.

Mr Bongo is delighted to present a new and exciting collaborative project with Swedish label Piano Piano Records.

Hearing the Swedish outfit Sven Wunder for the first time is as refreshing as an ice-cold Limoncello after an Italian meal. One of those bands that feel instantly familiar like an old friend, yet simultaneously fresh and new. Straight away we fell in love with their sound and knew we had to work with them.

The first fruits of our partnership is a collector's edition 7”. We have selected two tracks of Turkish inspired funk goodness taken from their already cult-classic 2019 album, 'Doğu Çiçekleri (Eastern Flowers )'. Both instrumentals, 'Tulip' and 'Magnolia' could easily have come from a lost soundtrack to a psychedelic movie. With their beautiful, yet raw aesthetic, they will enthrall funk, B-Boy / Girls, and psychedelia fans alike.

Cut at the Timmion Records Cutting Lab in Finland.

LP + 3xCD + booklet !

The Doors found their mojo (and Mr. Mojo Risin’) in November 1970 as they recorded L.A. Woman over six days at the Workshop, the band’s rehearsal space on Santa Monica Boulevard. A success both critically and commercially, the album was certified double-platinum and contains some of the band’s most enduring music, including the Top 20 hit “Love Her Madly,” “Riders On The Storm,” and the title track.
To commemorate the album’s 50-year anniversary, Rhino keeps on risin’ with a 3-CD/1-LP set that will be available on December 3rd. L.A. WOMAN: 50TH ANNIVERSARY DELUXE EDITION includes the original album newly remastered by The Doors’ longtime engineer and mixer Bruce Botnick, two bonus discs of unreleased studio outtakes, and the stereo mix of the original album on 180-gram virgin vinyl.
For this new collection, the original album has been expanded with more than two hours of unreleased recordings taken from the sessions for L.A. Woman, allowing the listener to experience the progression of each song as it developed in the studio. An early demo for “Hyacinth House” recorded at Robby Krieger’s home studio in 1969 is also included.
The outtakes feature Jim Morrison, John Densmore, Robby Krieger, and Ray Manzarek working in the studio with two additional musicians. The first was rhythm guitarist Marc Benno, who worked with Leon Russell in The Asylum Choir. The other was bassist Jerry Scheff, who was a member of Elvis Presley’s TCB band.

The Tunisian electronic music producer Ben Khlifa has joined Nastia's rapidly growing record label NECHTO and is releasing a 4 track EP.

Having started DJing at a very young age, the artist experimented with various genres, eventually realizng that he is most drawn to the raw energy of techno and was early inspired by Berlin and Detroit techno. The producer sees no limits in what one can achieve in the realm of music - music drives itself once it receives an external force.

"I wanted to get out from the ordinary by combining complexity and dancefloor elements," says the artist. "Every track on this EP differs from the others which means there's no perfect structure or organized steps to follow, and overall, the most important thing for me is to share good energy with which anyone can interact with."

All Them Witches are an American rock band from Nashville,
Tennessee. The band consists of drummer Robby Staebler,
vocalist / multi-instrumentalist Charles Michael Parks Jr.,
guitarist Ben McLeod and keyboardist Allan Van Cleave.
 The band’s musical style incorporates elements from multiple
genres, such as hard rock, stoner rock, psychedelia, neopsychedelia, blues, folk and southern rock; however, Julian
Marszalek of The Quietus noted that: “... this isn’t blues of the
‘woke-up-this-morning’ variety but one of malaise, anxiety and
fear brought on a by world seemingly dead set on destruction;
nor is this an escapist variant of psychedelia wherein one form
of reality is jettisoned in favour of another for reasons of cheap
thrills.”

Fools Meeting is an album by Carol Grimes with the British blues/progressive rock band Delivery, founded in the late 1968. The band was one of the wellsprings of the progressive rock Canterbury scene.

"Delivery was formed during the British blues boom of the late '60s. However, its sound is jazzier and more progressive than most of the music that emanated from that era. Rhythm & blues serves as a springboard for forward-looking tracks like "Blind to Your Light" and "Harry Lucky." Singer Carol Grimes is frequently compared to Janis Joplin. While Grimes has a powerful voice, she does not reach the level of histrionics that were a showcase of Joplin's. It should come as no surprise that Delivery members joined Canterbury related bands upon Delivery's demise. The reissue CD of Fools Meeting features several live bonus tracks, as well as a post-breakup demo recording featuring Caravan bassist Richard Sinclair. That demo session, one of the highlights of the collection, spurred the musicians to form Hatfield and the North. Fools Meeting is an essential part of any Canterbury collection, and should also appeal to progressive jazz fans." (Jim Powers / All Music Guide)

Bill Evans catapulted to the top of the jazz world in June 1961 after reeling off three straight masterpiece sessions at New York's Village Vanguard with his trio. Yet the emotional highs came to a screeching halt shortly thereafter when bassist Scott LaFaro died in a car accident. Devastated, Evans refrained from playing for nearly a year. If not for an inspirational collaboration of tremendous creative outpouring, one wonders what fate may have befallen Evans. Undercurrent, the outcome of two studio sessions with guitarist Jim Hall, is that project.

Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this Silver Label LP edition bursts forth with brilliant textures, you-are-there realism, and extraordinary tonalities. No other version outside of this analogue copy brings you face-to-face with these two jazz giants' sonic communion, a kind of spiritual musical summit on which Evans' deft keyboard touches and Hall's reliably subtle phrasings seamlessly mesh and wonderfully dance, the compositions streaked with natural instrumental decay, full-frequency extensions, and poignant emotionalism that, on this LP, you can feel.

While Evans managed to sit down for a few one-off takes between LaFaro's passing and these April-May 1962 dates, he largely remained on hiatus and abstained from recording. Whether it owes to the intimate pairing, he and Hall's brotherly chemistry, or the exquisite selection of program material, the results consistently come across as the equivalent of a private meditation - such is the level of introspective depth and quietly shaded interplay throughout. For Evans, the duet clearly functions as therapy, a healing episode in which his partner patiently lays back, shadowing moves and suggesting others, neither musician interested in the spotlight but each striving for (and achieving) transcendent beauty.

In tackling standards such as Rodgers and Hart's "My Funny Valentine" and the Broadway classic "Darn That Dream," as well as the Hall original "Romain," the pair traverses complex harmonies with the astute elegance of a figure skater. At times, Evans and Hall go for broke on a hard-swinging romps, yet it's their implied melancholy and drifting, softly struck melodic refrains on waltzes and ballads that bestows Undercurrent with a nuanced romanticism and whispered atmosphere befitting the record's title.

Indeed, even the album's cover - an iconic photograph by Toni Frissell - exhibits the surreal, almost-hallucinogenic properties of the fare contained within.

Sharing with you the debut Album of Nice Girl titled “Ipsum”.
As a natural progression from her prior singles on Public Possession the music has a very capturing energy, although essentially machine music every single sound on the record seems connected with mother earth.
It’s rooted in the common ground that is home to all of us: the soil that nurtures flora & fauna, the air we breath, the water we drink, the sun & moon that shine upon our bodies.
One tribe, a million rituals, a common ground: The Dance (the Beat). Repetitive rhythms creating a sense of community & togetherness.

Red & Yellow Vinyl

With its first track produced in early 2017 (that crowds worldwide were listening to already in 2018), the OBI THINE XI album by RICO PUESTEL took up the time of 4 years to become the wild-at-heart ride at hand.
The fantasy concept of OBI THINE XI (based on an anagram of the label name EXHIBITION) tells stories from a wonderous kind of holistic place in space with two dualistic layers and velocities of perception present:
On the one side of SPACE, the main plot is based on the idea of an exhibition-walkthrough, representing the culmination of the EXHIBITION label itself. Throughout these acts of promenading from exhibit to exhibit, the journey passes different angles of RICO PUESTEL's musical mindset from the uniquely designed depths of OBI XI or RITUALIST to the blunt uplifts like MODEST or ID (a cooperation with scene-bedrock Tom Wax), finally peaking with the retro-game styled melodies of THINE that close this primal arc.
On the other side of TIME, there's a 12“-exclusive mini-album within the album itself that pays tribute to the vinyl record (and all of its fans) with four tracks at the end of each side, telling tales at their own pace and reflecting their perspective on the main course of the album like reflective and feverish dreamscapes from places without any conception of time.
The union of both layers merges the dualism of space and time, demonstrating the wayward ideas and musical excesses of RICO PUESTEL when it comes to his grasp and definition of Techno music and beyond – you gotta say yes to this excess...

“I can remember literally bolting across a busy warehouse party in the early 90's (I think it was actually DIY in Gloucester?) afterhearing a record come on which immediately stood out to me, hadn't heard it before.... A clear 303 single note bassline/hook with sublime strings and undeniable flavours of Detroit and Chicago in the drums and vibe. I needed to know what it was!!That record was "Northern Lights" by Caucasian Boy (AKA Crispin J Glover and David Jenkins, AKA DJ Shakra), and I have honestly been playing it ever since. Fast forward 28 years, and here we are releasing their new acid house monster, the Remote Control EP”Justin Harris Remote Control immediately puts youback in the warehouse or one of those dark, sweaty basement parties which have shaped manymusical educationsover the decades, you know, when things are just starting to get really involved! Beginning with a relentless 90's feel and withmore thana nod to early 90's Belgian Techno, Remote Control steers you through a perfect six and a half minutes of heads down warehouse acid groove, all culminating in a kick-ass gorgeous breakdown. And then there's Dystopia.A deep, dark 909 driven cut of excellence. You can hear in every bar that the purveyors of this track have a deep experience of and are driven to write for the dance floor. Once again, making perfect use of 303, 909 and 808 (amongst others) Dystopia pullsno punches and shamelessly leads you right into the middle of that sweaty dancefloor, and it's perfectly executed deliverykeeps you right there.

10Questions is a record label by Dam Swindle’s Lars Dales and graphic designer Bas Koopmans. After two prolific first releases, 10Questions drops another EP, this time by long time friend and synth wizard Lorenz Rhode. Lorenz finds himself exploring the depths of 80’s inspired Italo disco with a modern touch. Just how we like it.

The ‘Le Noir EP’ is spearheaded by two A sides of which title track ‘Le Noir’ is the first one. “Le Noir’ features the sensual vocals of ‘Margerita’ and is one of those tracks that we love instantly because of it’s strong theme and even stronger execution. Italo drama in optima forma. The chord progression on this track gets you hooked and never seems to end; a perfect example of why we call Lorenz the ‘synth wizard’.

The second A side ‘Yayoi’ is a track with a big nod to Lorenz’ memories of 8bit games and early days music programming. This track pulls you in from the start with an emotional theme but with the drop into bassline and percussion it’s clear this theme is not one to linger on. The addition of both claps and stabs add loads of energy on top making this track a wolf in sheep’s clothing.

The full B side is reserved for ‘Pan Di Stelle’ and is the exact counterpart of ‘Yayoi’. It starts of with an Italo inspired bassline and with the percussion on top, it immediately dictates the energy. Only after the two minute mark the spacey theme comes lurking around the corner and fits perfectly in it’s own sonic pocket. This track is a another example of Lorenz’ expertise in utilising vintage synths and why he has been immensely popular for his production and playing skills.

10Questions is a label build on the concept that the record and record sleeve are an integral part of the full experience of an EP. The artist is given a questionnaire and depending on his/her answers the artwork is made. This way the music and art co-exist in the same creative universe, that of the artist and the label alike.

On the A side we have the original tracks starting with
Split Secs - Accept The Answer which is quite the slow burner, easy building up and keeping you in a state of bewilderment with weird synths, sounds and melancholic vocals floating around.

When you're still reminiscing about the first track, Franz Scala decides to up the game with his ‘Overflash’ that contains a kick that makes the walls of every room buzz. His familiar sound can be heard throughout the whole track and will for sure make every dancefloor move.

Moving over to the AA side, Split Secs has made an absolute stellar of a remix of Franz Scala unrecognizable but surely not less danceable original. Heavy bassline, dark and dreamy pads and funky percussion alternate each other in this remix which can be described in so many words, but is best to just start listening to.

Which is exactly what also should be done to the remix by Franz Scala. Taking the slow burner by Split Secs to another tempo and level by adding his familiar sound but what makes this track so special is the synths that have been perfectly applied and will bring some heat and sweat to the dancefloor.



c B1 Franz Scala - Overflash Split Secs Remix 6:02
Franz Scala Remix 8:03

After the success of critically acclaimed debut, SOS Music Volume 1 (praised by The Wire - ‘There isn’t a weak link’, RA, Gilles Peterson, Maryann Hobbs, Rough Trade, Love Injection, Mixmag, DJ mag, Basndcamp, Vinyl Factory etc.), the cutting edge Los Angeles electronic label are back with their sophomore release, another explosive compilation comprised of brand new female and female identifying talent.
The release, available on beautiful clear vinyl and digital features 7 of the most exciting emerging names in global dance music; Aura T-09, Closet Yi, Regular Fantasy + Yazzus to name a few. As dance floors open, SOS co-founders Maddy Maia and Tottie wanted to curate something positive, uplifting and reflective of sweaty summer dance floors, whilst retaining the edge that permeated their debut.
The release will be accompanied by an SOS tour North American + Europe at some of the most iconic global clubs - and expect mainly female, female identifying and non-binary artists on the bill.
Though only founded in 2020, SOS Music has been making waves in the independent dance community, and has helped to highlight the global underground dance scene growing rapidly in Los Angeles. The release made end of year lists including Bandcamp’s Best of Electronic and Rough Trade NY compilation of the year. SOS Music also hold a residency on Worldwide Fm, which continues to highlight ground breaking electronic talent with a female focus.

VALHALLA was a Long Island, NY based band comprised of Don KRANTZ (guitar,some bass), Rick AMBROSE (bass,vocals), Eddie LIVINGSTON (drums), Bob HULING (percussion,vocals) and leader Mark MANGOLD (keyboards,vocals) that played a combination of heavy psychedelic blues with powerful symphonic arrangements. The band released their eponymous and only album in 1969, a wildly eclectic affair that at times recalls DEEP PURPLE, PROCOL HARUM, CREAM, ELP, and fellow symph-psych outfits as ROOM. Although the band swings from sixties folk-pop to jazz and the addition of an orchestra lends a pompous, almost cinematic feel to the album, Valhalla was always a psych-blues band, and this influence can be felt across the record. Sadly, Valhalla would not have time to mature their sound and they shortly broke up. However, Mark MANGOLD's love of the organ (among other symphonic keyboards) would continue in his later AOR, heavy keyboard experiments, including the mid-70s group AMERICAN TEARS. VALHALLA is recommended for fans of Deep Purple, as well as fans of the 60s-meets-70s prog-edelic sound.

Black Key return from a four year hiatus in style, with 4 sublime tracks from Australian ultra deep house don, Planisphere, aka David Swatten. Following an incredibly well received LP on reissue label, For Those That Knoe, Swatten returns here with more expansive, smokey and utterly consuming deep house cuts, stamped with his unique sound but offering a different flavour from his Definitive Transmission LP � one which immediately stands out from the crowd. Being only his third release in 20 years, there's an understandable sense of anticipation around Swatten's output. This release undoubtedly puts Black Key firmly back on the map, picking up their deserved reputation for releasing only the very best deep house, aimed well and truly at the heads.

The Mighty Soulmates is a towering early 90s project from the legitimate super group of André Cymone (bass player with Prince), St. Paul Peterson (guitarist with The Family and Prince), Mic Murphy (of Sass and The System fame) and Gardner Cole (writer, producer and musician probably best known for his work with Madonna). The sound is a majestic blend of sophisticated funk, emotional R&B, New Jack Swing flava and slick deep soul.

These should-be legendary sessions have been almost a secret since they were recorded back in 1993. The first Be With knew about the project was whilst working with Mic on some Sass re-issues and he told us he had something else we might be interested in hearing.

Mic explained, “In the summer of 1993, Gardner Cole asked if I’d be interested in coming out to work with him, André, and St. Paul. So we all headed out to what can best be described as a fantasy music summer camp at Gardner’s house in Woodland Hills, California. We had all worked together in the past in some form or another so everyone was energized and enthused and excited to see what we could create together. St Paul and Andre had already begun some songwriting at Gardner’s well equipped home garage studio. The songs and ideas progressed quickly and some additional recording was completed at André Cymone’s studio in downtown LA. We ended up working on the project for about 6 months, off and on, until Gardner's house fell victim to the Northridge Earthquake in January 1994.”

There were some vague ideas at the time about turning the sessions into a finished record, but everyone went back to their day jobs and as St. Paul puts it: “for nearly 30 years it just sat there, marinating like a fine funk masterpiece. Everything has its right time and now just be the time”.

From all the tracks Mic sent over, we’ve cherry picked the absolute cream for a tight four track EP. In an alternate history all four for these would’ve been radio smashes. No doubt. But these songs never even reached a plugger. A mixture of beat ballads and uptempo non-hits, coming on like Al B Sure! or Babyface take on Shalamar or, dare we say it, The Purple One - maybe not so surprising given who’s playing!

The feel-good dancefloor dynamite of “I Wanna Be The One” is the explosive opening track. A piano-driven, groove-laden blast of yearning deep-pop, with perfectly delivered soulful vocals and an unmistakable “early 90s” sound. Indeed, fans of Eddie Chacon’s old group will dig this for days. “Back In The Day” has a timeless swing and swagger, the lyrics reminiscing about the halcyon streetlife of the Soulmates’ youth, about Curtis, Superfly and innocent days gone by, about hustling with friends. Yet more spine-tingling vocals over yet another perfectly produced musical backdrop. Stunning.

Opening side B, “Blue Tuesday” is the thrilling pinnacle of the EP, at least for us. It’s absolute soulful-pop perfection, and the one we’ve been asked about most after teasing this collection on our NTS show. A soaring beat ballad full of chiming guitars, gorgeous harmonising, falsetto “doo-doo-doo-doo do-do-do-do” backing vocals and a real steppers’ groove. Glide to this with your loved one at the next roller rink party.

Dramatic, purple-hued closer “Private Time” seems to predict the Timbaland-dominated sound of the mid-to-late 90s, all synthetic strings and squelchy, acidic-drum-machine soul. There’s even room for funky piano breaks, vocoder bridges and more cowbell than you can shake a cowbell at. You could just as easily hear Aaliyah vibing over this as much as Mic.

This EP represents the sound of four incredibly soulful, talented, and influential (soul)mates jamming together over one long hot summer and weaving pure sonic magic. André Cymone loved the “kinda pop, experimental exploration of sound and music. I think these songs make a statement. Not just because of the collection of talented musicians involved but the idea of musically branching out and experimenting; which is what I loved about the project and for people to hear and hopefully appreciate the artistic adventure this music takes, I think it’s a much needed breath of fresh air.” As Mic recalls, “it had the feeling of recovery in a circle with my dudes making music sitting around catching up on life - it felt like living a second childhood. We just wrote what we felt. I don’t remember ‘aiming’ at anything but a great song, melding all our different influences from throughout our lives. We had no restraints. For me personally, it was a time to make music and regroup. I call it the ‘Soulmate Experience’ because in many ways we are kindred souls as a band. We did have an amazing time making the record and so much fun together. Probably my best summer ever”.

The Mighty Soulmates EP has been mastered for vinyl by Simon Francis, cut by Pete Norman at Finyl Tweek and pressed at Record Industry. That early 90s gloss sounds spectacular, if we do say so ourselves.

And such a special record needed some truly almighty artwork, so thanks go to DJ Ruby Savage for directing us to London-based illustrator and designer River Cousin. This music needed something elegant and indulgent yet soulful and striking and something as simultaneously tongue-in-check and deadly-serious as the group’s name. The end result is as modern yet timeless as the music itself.

And these are just our four picks. There’s plenty more where this came from and Mic tells us he’s even picked the album title: “Earthquake Summer”.

At only eighteen years old, Paris DJ and producer u.r.trax has a C.V that would make most seasoned selectors blush. Blending the innocence of youth with a ferocious production palette, the emerging techno star has already played Concrete, Dehors Brut, and La Toilette, and has released on Hector Oaks Kaos label, having become infatuated with the sound at a young age - even visiting Tresor at just fourteen!

From death comes rebirth, and on ‘Dying Generation' u.r.trax flies the flag for future-gazing doof with its twisting, left-field turns and throbbing noise. An instant Berlin classic. The glitch and suspense of ‘What Was On Their Mind’ melts into the raver’s core; alarm bells ring, heartbeats race and eyes widen on its six-minute journey.

The headsy vibes on ‘You Are Your Own Distraction’ is a welcome switch-up, its punchy kicks and bouncy aesthetic inviting the listener to dance as weird as they want, before the techno tradition is dropped in favour of a hefty cut of electro flavour, molding the artists own vocals with her production for a “Miss Kitten 2.0” vibe.

Galaxial atmospherics, horror-synths and anxious energy bow us out on ‘Race Against Time’, completing the package with a furious digi-only rework from MRD.

Bukkha finally lands on LoDubs after over a decade of false starts and missed signals, and it's with a release he seemingly read our minds about wanting: A riddim album featuring some of the best toasting and instrumental performances yet on a release of its kind, rubbing it up with the likes of Dandelion of early Hyperdub renown, Jane Bee (the Ragga Queen of Germany) toasting in unison with fellow Jahtari Alumnus Roger Robinson, and Sarah Tobias, the current keeper of that classic Ska / Rocksteady / Roots Sax tone. Truly a melding pot of Roots-Centric sounds!

DJ Support From: O.B.F, Channel One Soundsystem + more

Special one Time Limited Edition in Rosé Colour Vinyl.

MARA is the debutalbum of Munich-based jazz group FAZER. The young musicians combine African and Latin rhythms with dubby basslines and melancholic melodies. The unusual lineup with two drummers (Simon Popp, Sebastian Wolfgruber), bass (Martin Brugger), guitar (Paul Brändle) and trumpet (Matthias Lindermayr) leaves an open space for unfettered improvisation. Through the concept of repetition and finely measured dynamics, Fazer create a drawing energy that can be felt directly at their live shows and has been captured perfecty on this record.

For their first album, Caravan was surprisingly strong. While steeped in the same British psychedelia that informed bands such as Love Children, Pink Floyd, and Tomorrow, Caravan relates a freedom of spirit and mischief along the lines of Giles, Giles & Fripp or Gong. The band's roots can be traced to a British blue-eyed soul combo called the Wilde Flowers. Among the luminaries to have passed through this Caravan precursor were Robert Wyatt, Kevin Ayers, and Hugh Hopper and Brian Hopper (pre-Soft Machine, naturally). The Caravan album never sold in serious numbers, and for much of 1968 and early 1969, the members were barely able to survive -- at one point they were literally living in tents. Suddenly, Caravan was an up-and-coming success on the college concert circuit, even making an appearance on British television's Top of the Pops. With national exposure and a growing audience, the group was at a make-or-break moment in their history. They rose to the occasion with their second Decca LP, In the Land of Grey and Pink, which showed off a keen melodic sense, a subtly droll wit, and a seductively smooth mix of hard rock, folk, classical, and jazz, intermingled with elements of Tolkien-esque fantasy.

The overall atmosphere and aura of You Are Here... I Am There points at the influences of American jazz musicians such as John Coltrane, Archie Shepp, and Charles Mingus. The record shows a strong tendency, however, towards a distinctive sound that was, at the time, new, embraced by musicians such as Jan Garbarek and Ian Carr. Above all, Tippett's compositional style bears traces of the artist's classical training, unveiled by his harmonic and dynamic awareness and careful balance between improvisation and composition. At the same time, in a reasonable dose, the sextet also captures the kind of spiritual aspect of American jazz, particularly powerfully displayed by Albert Ayler, John and Alice Coltrane, and Sun Ra.

Recorded in London in the summer of 1971 by Austrian singer/songwriter Bobby Haumer and an English pick-up band, Zakarrias was issued on the highly collectable Deram label. However, Deram withdrew the album almost immediately when they discovered that Haumer didn't have a work permit. Mysteriously sounding heavy progressive with sensitive folk-psych moments. Great dynamics with contrasting guitar leads. The results have been compared to outtakes from the third Led Zeppelin album, but while the lead vocals are certainly reminiscent at times of Robert Plant, the overall sound and general air of quiet pretension is probably closer to Van der Graaf Generator leader Peter Hammill's early solo work.