Search:the flow

Aqua Blue vinyl, limited to 350 copies. SoftSun was formed in 2023 by guitarist Gary Arce (Yawning Man) and bassist/vocalist Pia Isaksen (PIA ISA). On their second album they are joined by Robert Garson on drums. The band is experimenting with sounds and are difficult to place in a specific genre. They have a style of their own with contrasts of softness and distortion, beauty and noise and emotional peaks and valleys. The music is patient, heavy and dreamy, with haunting vocals and beautiful guitars drenched in distortion and reverb over patient and thought out drums. The songs are flowing slowly and take inspiration from both the Californian desert landscapes to the Norwegian oceans where the two founding members come from. On this second record SoftSun has developed their sound further and sound both moody, experimental, beautiful, and raw.

Sometimes there are discoveries that hit like thunderbolts! Matt Pascale & The Stomps are undoubtedly one of them-and a major one at that. Everything here is simply perfect. Musically, the backbone of this album remains blues, but rock, funk, soul, and even hip-hop are never far off. The compositions flow like a string of potential hits. It only takes listening to this album once or twice for certain melodies to lodge themselves firmly in your brain. As for the performance, it"s downright incredible. Matt Pascale has a raspy voice with a "more Italian you couldn"t get" vibe, his guitar playing is a sheer marvel of precision and feel, and The Stomps are a rhythmic and groovy powerhouse capable of waking the dead. Un-be-lie-va-ble!

Tristen stammt aus der lebhaften Roots-Rock-Szene von Nashville, Tennessee, und hat sich in den letzten zwei Jahrzehnten als produktive und vielseitige Musikerin etabliert. Ihr Talent für das Komponieren fesselnder Melodien und scharfsinniger Texte hat ihr hochkarätige Kooperationen eingebracht. Sie war Co-Autorin von ,Love is an Art", dem neuesten Album von Vanessa Carlton, und tourte mit Jenny Lewis als Teil ihrer Band Voyager. Ihr folkiges Debütalbum ,Charlatans at the Garden Gate" aus dem Jahr 2011 brachte ihr das Lob als ,Nashvilles bestgehütetes Geheimnis" (The Boston Globe) ein, während sie sich mit ,CAVES" aus dem Jahr 2013, das von Stephen Hague co-produziert wurde, als hypnotische ,Synth-Pop-Sirene" (SPIN) neu erfand. Sneaker Waves erschien 2017 und markierte ihren Übergang zur vollständigen Produktion ihrer Musik und Musikvideos in ihrem Heimstudio zusammen mit ihrem langjährigen Kollaborateur und Ehemann Buddy Hughen. Rolling Stone beschrieb es als ,Nilsson-würdige Powerballade", während Ann Powers von NPR es als ,voller großartiger Melodien und eingängiger Arrangements, die das Ohr kitzeln und nicht mehr aus dem Kopf gehen" bezeichnete. 2021 erschien Aquatic Flowers, woraufhin Talkhouse verkündete: ,Sie ist eine dieser Songwriterinnen und Performerin, die von anderen Musikern absolut geliebt werden, und das aus gutem Grund. Sie ist eine Risikofreudige im Studio, wagt sich in unbekanntes Terrain vor und findet fast immer etwas, das zumindest interessant und oft unglaublich ist." Ihr fünftes Studioalbum ,Unpopular Music" erscheint im Oktober und enthält Beiträge von Pat Sansone von Wilco, Vanessa Carlton, Becca Mancari, Erin Rae und Natalie Prass. Damit kehrt sie auch endlich wieder auf die Bühne zurück und setzt ihre Karriere fort, in der sie bereits mit Robyn Hitchcock, Television, Ezra Furman und den Mountain Goats aufgetreten ist.

Acclaimed electronic musicians, producers and sound architects Max Cooper and Rob Clouth team up for a new collaborative EP; a dark, playful four-track dive into ambient, breakbeat and techno’s subconscious flow, featuring a standout vocal performance from South London rapper FLOHIO.

Recorded over a series of spontaneous London sessions, “8 Billion Realities” channels years of creative exchange between two of the genre’s most quietly innovative artists and is a result of a decision between the longtime friends to refrain from conceptual overthinking in favour of instinct and joy.

As long-time admirers of each other’s audio/visual work, Cooper and Clouth collaborated in London together after both emerging from intense, idea-heavy album cycles. What followed was a series of exploratory sessions, half-improvised, half-built around half-formed thoughts.

The result is a club-ready EP that feels alive and human: imperfect and hypnotically rich.

“Rob Clouth has been one of my favourite electronic music producers since I first heard his work in 2011,” says Cooper. “His work is more full of ideas and structure than anyone else.” “We were both coming from extensive conceptual studio albums and both in the mood for simplifying things and having some fun with the music, so that’s what we did”.

For Clouth, no stranger to Max Coopers Mesh label having previously released an array of EP’s plus his 2020 debut album “Zero Point” this record marks a new chapter, both creatively and personally.“Something pretty new for me is collaborating,” he says. “You kind of have to when to stop, because if you develop an idea all the way to its endpoint, the other person has nowhere to jump in.”

The first “A Moment Set Aside” began as a break from another idea, a live, unplanned improvisation based around arps and ambience. “The track was written in about as long as it took to play it,” says Cooper. “It was pulled from a 1 hour recording session, more or less as you hear it… the energy and excitement grew as the unplanned moment bore some magic.”

“The lesson being that sometimes it’s helpful to set aside a moment without forcing results, and let the subconscious have something to say.” What followed was darker, heavier. “Asymptote” is detuned techno. Subversive and euphoric in its descent. “We found a sort of brain mangling, half consonant, half wandering detuned techno pulse, which we started chatting about being a sort of pit of spiralling body parts we were falling into,” says Cooper. “It was a lot of fun to work on and let loose with bigger kicks than I usually ever get to unleash.”

Then came “8 Billion Realities”, featuring a standout rap performance from FLOHIO; an emerging figure in the UK grime and rap scene. The track was inspired by conversations about algorithmic echo chambers and hyper-personalised online worlds. Frantic, direct, and South London to the core, FLOHIO brings this tension to life. Her sharp, intense flow cuts through distortion and rhythm, landing the track somewhere between chaos and control instantly making it one of the most striking moments in either artist’s catalogue. “A different reality for all 8 billion of us,” says Cooper. “We weren’t sure if it would work… but there was something about the energy of the percussive idea and the story which felt like it might fit.” “Then FLOHIO had a play with it and straight off the bat absolutely killed it, not just with the lyrics and energy, but the harmonising too, it was a beautiful process.”

The final piece on the EP “Candeleda” originated from Clouth’s solo experiments with a live rig made entirely of vocals and keys, using his self-developed “cheatbox” system. “He put forward a beautiful stumbling melodic sequence which we bounced back and forth adding harmonies and synth layers,” says Cooper. “It rounds off a collection covering some of the breadth of music that we both love.”

Anushka Chkheidze + Robert Lippok’s »Uncontrollable Thoughts« on Morr Music is the duo’s debut joint release. The Netherlands-based Georgian composer and the German sound artist from Berlin first met in 2019 in the context of a workshop programme that took place in Tbilisi, and later worked with Eto Gelashvili, Hayk Karoyi, and Lillevan on the massive »Glacier Music II« music and book project, released in 2021. This led them to engage in a less conceptually driven form of musicking and real-time composition that corresponds with their respective environments. They draw on traditions such as minimal music or late 1990s and early 2000s electronica to integrate subtle beats with elegiac organ drones, playful melodies with lush textures. The first document of an ever-shifting intergenerational dialogue, »Uncontrollable Thoughts« is a product of mutual listening outside time.

Though Chkheidze and Lippok had access to professional studios, they chose to rent a simple rehearsal space, equipped with only the bare essentials—bass and guitar amps as well as a small PA—to maintain immediacy in their working process. The music they made together corresponded to and drew on the respective possibilities and shortcomings of this studio, much like their collaboration in general is characterised by the care with which they approach each other's talents and ideas. While both had loosely defined roles—Chkheidze was responsible for the free-flowing beat programming and the evocative distortion came courtesy of Lippok, for example—they individually contributed in different ways to their joint process, which is as free of hierarchies as it is limitless. Hence, the duo’s focus on spontaneity and out-of-the-moment emergence makes them organically move beyond tried and tested conventions, resulting in music that seems to suspend time altogether.

When the first chimes on »Bird Song« announce a piece that sets rattling kickdrums against a backdrop of layered drones and rhizomatically entangled melodic elements, it becomes clear why »Uncontrollable Thoughts« carries this title: The album follows the constant detours of the subconscious of its makers, letting them explore moments of ecstasy such as on »Rainbow,« melancholy with »Field,« and the interplay of suspense and release through the ten-minute-long title track. But the different pieces also tie into one aother in various ways. The dirge-like organ drones on which »Rainbow Road« ends reappear in the beginning of »Uncontrollable Thoughts,« much like Chkheidze’s gentle yet emphatic piano chords on »Field« seem to provide the starting point from which the artist develops the striking motifs of the final piece »Opening«, whose title itself suggests that the record as a whole can and should be enjoyed as a loop. All this creates a unique, idiosyncratic temporal logic.

While there is much that sets Chkheidze and Lippok apart as solo artists, the major shared leitmotif in their respective bodies of work is the sonic engagement with space. »Uncontrollable Thoughts« is hence best understood as an extension of this practice; as an album that maps the geographies of their minds in motion, tracing musical movements as they melt into each other.

Downwards present Alexander Tucker in metamorphosis from psych folk to techgnostic bard, aided by notable guests – Justin K Broadrick, Regis, Phew, Karl D’Silva, JJOWDY, and Elvin Brandhi – in a quest for disordered convention and new thrills. One up to Tucker’s outings for Alter and The Tapeworm, and spiritual successor to his »Nonexistant« trio on Downwards, »Clear Vortex Chamber« is an enigmatic take on the brownfield edgelands where the eldritch intersects electronic heck. Decades of work spread between hardcore punk, psych rock, folk, and drone — including work with Stephen O’Malley (Ginnungap) and Neil Campbell (Astral Social Club, ESP Kinetic) — feed forward into this album’s unsteady machine rhythms and cranky junkyard atonalities, where Tucker panel-beats aspects of his previous sound with a newfound industrial thrust and cyber-punky lust that suits him dead well.

A crafty example of how to mutate without losing sight of yourself, the album’s eight parts feel like a cyborg patching itself into modernity. On opener »Udug« Tucker’s signature falsetto peals from a A Scanner Darkly-style scramble suit of stereo-strobing electronics, setting a melodramatic, neo-gothic tension that riddles the album thru the knotted, fractured industrial dancehall bullishness of »Mallets« with Yeah You’s feral gob Elvin Brandhi, via a pair of standout »Fedbck« parts with Tucker’s personal idol, Justin K Broadrick (Godflesh, Jesu, and the rest), featuring the Brum deity’s claw-handed riffs and howl on the first, and smeared with Karl D’Silva’s brass in its noctilucent second part.

Regis also proves a staunch foil for the album’s most robust, club-ready cut »Zona«, hammered out from buzzing metallic drums and monotone bass drones, and pitting his severed vox against Tucker’s own androgynous harmonies to recall aspects of The Ephemeron Loop via British Murder Boys, whilst scene legend, Can and Ryuichi Sakamoto spar Phew (aka Aunt Sally) ideally tempers the flow in a relatively soothing »Sansu«, sharing more cyber-romantic, recombinant sentiments with the channelling of Robert Wyatt gone Funk Bruxaria on »Folded«.

oDYSea is back for its second release with the much-awaited debut EP of Penelope, featuring four compelling club tracks brimming with power and grace.

Opener ‘Unexpected Dreams’ surges with muscular basslines and acid liquidity, while ‘Usual Suspects’ adds crashing breaks into the mix.

On the B-side, ‘Strange World’ steps into outer space with a broken beat, alien foghorn motif and big synth riffs, before the electro-house groove of ‘Flow’ sends us home with a funky bang. A hypnotic blend of techno pulse and delicate breaks, ready to take you on a full dance floor immersion.

Trystero returns with their new album Humming Fuzz on Knekelhuis — a kaleidoscopic voyage deeper into the band’s expanding cosmos.

Built on plunging basslines, acid-drenched loops, and spiraling kraut-inspired guitar textures, the record drifts between hypnotic repetition and free-flowing, hallucinatory songwriting. It echoes the visionary spirit of Psychic TV and the genre-blurring universe of Weatherall, while carving out a raw, magnetic space of its own.

Recorded once again on a canal barge in the North of France, Humming Fuzz feels like a natural evolution from their debut Sfumare e Vedere — denser, more alive, and charged with electricity. Now expanded with Nelly on bass and Alexia on vocals, Trystero channels this expanded energy into their wild, expressive live performances, soon to ignite audiences on their upcoming tours.

CENTRAL's new release is already here! On the B-Side, DJ KAWASAKI has edited the extra-hit “Samurai” to make it an even hotter dance track!
Both sides of the album are perfect for the field!

CENTRAL, a salsa band that has suddenly gained attention after releasing two singles and a full-length album last year, but is actually a group of seasoned salsa veterans, has already released a new single! This time around, CENTRAL has released a cover of “Brazilian Rhyme,” one of Earth, Wind & Fire's many classic songs that still remains a dance floor favorite, with a Latin arrangement that is full of CENTRAL's signature style. The groovy bass, shimmering electric piano, percussion, and outstanding horn arrangement make you want to dance and scream, “This is CENTRAL! The B-Side features DJ KAWASAKI's edit of “Samurai,” a definitive mellow salsa track that has now become a WANT-requested item from all over the world, sublimated into an even hotter dance track!

This summer, dance hard to CENTRAL's salsa!

Broken District presents Theoric Proximity, the debut album from French producer and label co-founder Jus Jam. Known for his blend of dreamy atmospheres and groove-driven productions, Jus Jam delivers a 12-track journey exploring the subtle balance between introspection and the dancefloor.

The record flows between ambient textures, deep and leftfield house, broken beat, hip-hop, and jazz influences, creating a cohesive yet versatile soundscape. From late-night moods to club-ready moments, Theoric Proximity reflects the artist’s unique approach: instinctive, emotional, and personal.

A milestone release for both the artist and the Bordeaux-based label, Theoric Proximity positions Broken District among today’s forward-thinking electronic imprints.

‘Aurelia’ is another atmospheric masterpiece by Boozoo Bajou.

Deep atmospheric soundscapes have always been a part of Boozoo Bajou during their 27 years as producers. Each of their previous five albums had those almost beatless melancholic beauties as part of the musical presentation.

Since this is a key element, Peter Heider and Florian Seyberth aka Boozoo Bajou decided to dedicate a new six-track album, called ‘Aurelia’, to this genre of music which might be called Ambient but is rather a free flow through their musical minds.

Based on a warm analogue mix, there are various instruments giving guidance to this journey, enriching the overall quality of this new output from Boozoo Bajou.

Chris Menist pares his sound right back for A book of imaginary beings, his fourth Awkward Corners outing with a project of electronic and abstracted global grooves. Experimenting with simple melodies and uncluttered arrangements, as well as taking inspiration from the Borges' short stories alluded to in the title, the project took shape in the early part of 2025, in the shorter days and dark evenings of January.

The initial challenge was to knock a basic track into shape each evening after work, then refine it later. There's a melancholy in the air in late winter, compounded by the creeping threat of national and geopolitical instability. Ulla, Natural Information Society, Jabu, Torso and Dawuna formed some of the background soundtrack as each tune took shape.

The track titles came after sitting with the sounds for a while, giving shape to images of people, creatures and their stories for a book that is yet to be written.

Two former friends sets the tone for the album perfectly as a minimal electronic piece with a slowly simmering synth bassline underpinning the groove whilst the trademark Awkward sound of the Shahi Baaja enters drenched in effects. It's the first demonstration of Chris' unique ability to create a world from apparently very little.

Dance of the silver beetles is completely unique in that we can hear chopped up Illimba samples seemingly playing backwards and forewords sometimes alone, sometimes together in duet with Chris' conga rhythms. Add to that a more conventional Illimba melody and added shaker percussion and you have one of A book of imaginary beings most curious chapters.

Anxious shadow puppets is closer to the Awkward Corners sound from previous albums as electronic pulses move around the arrangement with the urgency that the track title suggests. Chris' percussive roots move to the fore with the congas that tie down the Paradise Bangkok Molam International Band's sound. Here, the bassline is more playful and works together with one of Chris' many African Illimbas.

Fans of Chris' adventures on his Roland 808 will dig A leopard with no spots, although the minimal mood continues to flow through on this track. The lolloping, but hard-hitting rhythm track provides the grounding for strange and twisting feedback-sounding tones to work the soundscape.

Abandoned boy (left in charge of the family business) is Awkward Corners at his atmospheric best. Drift off to the sublime sounds of Chris exploring the Shahi Baaja, whilst a soft, repetitive synth line and abstracted pads give the listener that feeling of meditation and peace.

Flamingo with bandaged neck is A book of imaginary beings' perfect coda and is exclusively Shahi Baaja draped in reverbs and delays. It feels like the resolution and the closing of a book that – as of yet – remains unwritten.

Awkward Corners is Chris Menist, a musician, DJ and writer. It started life as a small project in Islamabad, where Chris was living at the time. Initial recordings were made with local musicians in Pakistan and then subsequently in Thailand. This culminated in the Sweet Decay LP that came out on Finders Keepers' Disposable Music in 2014, and in turn led to a limited tape release on Boomkat/Reel Torque of original compositions and re-edits of Thai 45s the same year. Chris released – Dislocation Songs – his second LP proper with Shapes of Rhythm in May 2020, collaborating on many of the tracks with award-winning performer Sarathy Korwar. The LP was picked up by many radio stations including NTS, Resonance FM, BBC 6 Music, Balamii and many more. It made Tom Ravenscroft's LPs of 2020. Amateur Dramatics, Chris' second LP arrived just a year later in 2021 and was a more ambitious project featuring more jazz-focussed compositions and featuring Tamar Osborn and Kitty Whitelaw. Shortly after that came another pivot with the heavier, dancefloor-friendly EP Somebody Somewhere. Somebody Somewhere is Dancing in a Field brought the House (yes House!) vibes, whilst Hector Plimmer turned in a remix of No Words in the same club mood.

As one of NTS Radio's longest-standing presenters, Chris continues to hold down the Paradise Bangkok show. Playing drums and percussion since he was a kid, Chris is the percussionist for The Paradise Bangkok Molam International Band as well as co-founding the record label of the same name. Chris has curated compilations for labels such as Finders Keepers, Soundway and Dust-To-Digital. He has been featured on the Boiler Room, Vinyl Factory Collections, played at the Four Tet curated Nuits Sonores festival, and has put together an edition of Volumes which featured unreleased Awkward Corners compositions.






[d] 04: All the Goodbyes (You Tried to Defer) [Original]





[j] 10: Abandoned Boy (Left in Charge of the Family Business) [Original]

‘A Tremendous debut. Skilfully blending folk, country and other styles, Woof’s eponymous debut album features thoughtful songwriting, adroit musicianship and her remarkable, crystalline vocals’ - 4/5 RECORD COLLECTOR

‘Enchanting. Whether playing almost solo or with a full band arrangement, Wooff is never less than mesmerising’ - 4/5 SHINDIG!

‘Her spectral voice and acoustic guitar lead abstract stories of loss, yearning and self-exploration, nimbly embellished with pedal steel, organ and strings. ‘The Waltz Of Winter Hey’ and ‘Lefty’s Motel Room’, with its allusive nod to Townes Van Zandt, are outstanding’ - 8/10 UNCUT

‘Launching herself fully onto the scene, she beguiles with tales of love, loss, hope and womanhood, wrapped up in a beautifully strange gothic romanticism’ - FOR FOLK’S SAKE

‘The beauty in the record is not merely based on Toria’s melancholic melodicism and rich delivery. It can be enjoyed in the juxtaposition between the singer’s darker, more eerily gothic instincts and the soothing, reassuring presence of instruments like pedal steel and cellos.’ - KLOF

Cornel Wilczek (Talk To Me, Bring Her Back) crafts an incredible score for this body horror future classic from director Michael Shanks, blending the organic and synthetic, merging them to create something new, mesmerising, calm, eerie yet beautiful and oddly melodic. Disembodied voices flow in and out of soundscapes made up of traditional acoustic instruments, strings, and synthesisers. At first listen, the score seems very minimalist, but with repeated listening, it reveals these amazing earworms that stick in your mind. It’s a truly lovely, otherworldly listen, ideal for late nights and headphones.

LP&DL Im Jahr 2023 erschien das Debütalbum der Wiener Band Bad Ida, das einen durchaus bemerkenswerten musikalischen Stil repräsentiert: eine explosive Mischung aus Soul, Funk, R'N'B traditioneller Spielart und dem absolut Besten was man aus dem guten, alten Bluesrock herausholen kann. Das klang im positivsten Sinne gewohnt und auch wieder ganz neu und heiß und dann war da ja noch eine Stimme, die besagte brandgefährliche Mixtur mit dem ersten Atemhauch zum Bersten brachte. Die Melodien - pure Ohrwürmer - und der rhythmische Drive hinterließen bei vielen geneigten Hörer:innen erstaunt-ekstatische Blicke und nur noch ein einzelnes, rudimentäres Wort im auf der Tanzfläche leergefegten Gehirn: WOW! Was tun nach so einem runden und rundum gelungenen Anfang? Easy: einfach weitermachen, wenn sich der perfekte Flow schon so schön zur groove-orientierten Spielfreude verdichtet hat. Nun startet also mit Ending Things der zweite Anlauf, um Hörnerven und Tanzbeine ordentlich auf Schiene zu bringen. Und es geht wieder aus dem Stand auf 180: angereichert mit einem dezenten Schuss Pop nistet sich hier ein weiteres großartiges Album konsequent auf dem Plattenteller ein. Die Lyrics von Ines Dallaji behandeln wieder die ganz großen, nicht immer ganz glücklichen Gefühle - die wiederum von einer richtig gut aufeinander eingespielten Band sehr zum Glück des Publikums intensiv zum Leben erweckt werden. Themen wie Umweltzerstörung ("Red Flags"), der Druck sozialer Medien ("Age of Likes"), Trauer ("I Still Miss You"), Angstbewältigung ("Fear") und toxische Beziehungen ("Remember My Love For You", "Leave Me Alone") verleihen dem perfekten Pop-Sound tiefgründige Strahlkraft: Bad Ida ist weit mehr als die oberflächliche Eleganz und der reizvolle Glamour, mit denen man das Genre Soul ja oft verbindet.

At last cv313's magnum opus comes to life in the form of a 3X12" LP set pressed on crystal clear virgin wax with art direction and design by the legendary House Of Traps crew in Edinburgh, Scotland. The original recordings were engineered and mixed down from 1/4" analog tape, then cut and Remastered by Stefan Betke (POLE) at ~Scape Mastering, Berlin, DE. Stefan's sonic wizardry focused on enriching every finite detail and bringing these recordings into a widescreen panoramic audio experience like no other. This edition features never before heard songs emitted from the CD and made exclusively for the LP set including the lost treasure that is: "Beyond The Clouds" (Seconds To Forever Live Mix) culled from the limited Japan edition back in 2011. With the vinyl edition of "Dimensional Space," we embark on a new project for higher understanding into anomalous familiarity. The flow journey in space, through time, combines unconstrained consciousness and uninhibited feeling for evolutionary experiences. The beginning...(Luna Petra") offers a glimpse into the origin of organic nature beyond the cosmos - a land of angel's dreams. Furthermore, "Clouds Beyond (remastered)," consists of unstoppable energy met by "Beyond the Clouds (reprise)," for a descent and deep dive into the sonic abyss. One can venture further towards the seduction of "ISIS," (Reference to NASA's ISIS Satellite Program) breaking through rules and boundaries; sonic art without limits. As we drift closer "Beyond Starlit Skies (re-imagined)," the exploration ceases upon discovery of tropical rhythms and dub-orient mysticism discovered, and once seen before via L'Astrolabe vessel with "Sella Bay." Provocative, enthralling of life form, may this meditative masterpiece bring solace and peace to all those who believe. Timeless in every sense of the word.

"Imagine More is the follow-up to Lophae's acclaimed debut Perfect Strangers (January 2025).
Recorded live to 2-inch,16-track analogue tape with the band all in one room, engineered and mixed by Benedic Lamdin (Nostalgia 77), and mastered by Caspar Sutton-Jones (Gearbox Studios), this second offering from guitarist and composer Greg Sanders' quartet ventures deeper into their distinctive blend of modern jazz, psychedelic exploration, and world music flourishes.
Four gifted improvisers navigate Sanders' compositions with mercurial dialogue and musical communion, weaving melodic elegance with rhythmic complexity, creating sound-worlds that echo Jeff Parker, Joao Gilberto, and Blake Mills while channeling the sophistication of Stan Getz, Bill Frisell, and Edu Lobo.
Fizzing electric guitar, flowing saxophone lines, and skittering rhythmic interplay transport listeners from north-west London's Fish Factory recording studio to the musical capitals of New York, New Orleans, Rio De Janeiro, Bamako, and Johannesburg - anchored by Sanders' unmistakable compositional voice and the quartet's intuitive sensitivity."

Dutch old school power house Markie with some 6-am-type-of-shit light sabre wielding energizer, stomping ahead while trying to fend of a giggling swarm of robotic mosquitos. 150 beasts.

Pneumatix & Mental Reaper with some deep flowing reflection of the walls caging our existdance. Superbly crafted food for mind and feet best enjoyed in the middle of the forest with no walls.
160 beasts.

As’teka Nahuatl & La Tartine pump up the jam in da south style. Summoning Quetzalcōātl the spirally voluted one in it’s cyber incarnation to the modern dance, bringing with it a horde of spider monkeys that go ape all over the place. Can you scratch the itch?
165 beasts.

Original full sleeve artwork by Darkam. Design and Layout by TDSiNGZ. Mastered by Stefan ZMK.
Each 12“ EP comes with a 2 sided poster, a digital download code, and 2 artwork stickers.

A record born of insurmountable joy and simultaneous profound loss; World Maker marks a time of great change for Psychonaut, both personally and musically, as the band burn away the philosophical narrative complexities of previous offerings with a searing, panoramic clarity that implores us to savour the beauty of the now as a means of leaving a legacy for the future. The traditional, three-piece line up of Belgian, psychedelic post-metal collective Psychonaut has long belied the compositional prowess, captivating narrative depth and crushing live presence of a band now operating at the forefront of forward-thinking, contemporary heavy music. Having sent a shockwave through the post-metal and prog scenes with their three times repressed Pelagic Records debut Unfold The God Man in 2020 before following it up with the transformative metaphysical complexities of 2022's Violate Consensus Reality, Psychonaut have played prestigious Belgian open-air festivals like Alcatraz, Rock Herk and Boomtown Festival as well as boutique events such as Soulcrusher, Roadburn Redux and A Colossal Weekend whilst sharing stages across Europe with the likes of Amenra, Brutus and Pelagic labelmates The Ocean and PG.Lost. The seed of World Maker took shape just as the campaign for Violate Consensus Reality came to a close, with the news that guitarist/vocalist Stefan De Graef was to become a father. This tilting of life's axis led De Graef, like most fathers-to-be, to re-assess what was really important. As such, the music he was inspired to write felt free of the band's previous philosophical and spiritual foundations and instead took the form of life lessons for his unborn son, a legacy of love in case something were ever to happen. This hopeful euphoria shines keenly throughout World Maker as an uncharacteristically optimistic warmth; from the reverberating Rhodes organ on the titular opening track and the meandering, free-jazz inspired guitar solo that introduces `Everything Else is Just The Weather' to elements of world music, electronica and the otherworldly voice of Dutch multi-instrumentalist and old friend Anthe Huybrechts (Anthe/Helion Creek) most notably on tracks like `Origins' which also features tabla, a pair of indian hand drums, as its propulsive heartbeat. Whilst Psychonaut's giant riffs, punishing polyrhythms and guttural vocal rage are more resplendent than ever, there is a wider dynamic spectrum to World Maker that sees the band proudly exploring their more delicate, intimate extremes as well as their most aggressive and abrasive. Not long after the birth of De Graef's son came the devastating news that both his own father and Psychonaut bassist/vocalist Thomas Michiels' father had been diagnosed with advanced cancers. Living day-to-day and torn between joy and grief, the band found themselves shedding the grand scope and world-shattering agenda of Violate Consensus Reality to focus on the here and now. Lead single `Endless Currents', the first full track on the album, explodes in a barrage of staccato guitar tapping but mellows to let the powerful, newly pared back lyrics ring out as a call to embrace the flow and follow joy. The song's final few words `Lead the way. / Soar. / Everlong.' double as both a greeting and a goodbye as the trio build their formidable post-metal might to a thunderous breaking point. Similarly, the pulsing, propellant `Stargazer', named so for De Graef's son being born in stargazer position, pairs delicate guitar motifs and folk-inflected optimism with huge and sprawling breakdowns as some of the band's most genre-pushing work to date; asking difficult but important questions of what happens next. It is `And You Came With Searing Light' though that most immediately exemplifies Psychonaut's redirected ambition on World Maker, as euphoria collides with blinding fury. The first track written for the album, `_Searing Light' is easily the most complex and initially wouldn't sound out of place on Violate Consensus Reality. Originally meant to be the new album's opening track; the decision to defer its impact, not to mention its compositional and dynamic gravity, speaks of a fundamental change to the band's very core. The words "Discover the world with wide eyes" recurring throughout speak as much to those having lost a part of their world as they do to those seeing it for the first time. Amidst such turbulent times, the band found strength and support within their Post-Metal community. The album was recorded and produced by the band alongside their longtime collaborator and close friend Chiaran Verheyden (Hippotraktor) with help and advice from Psychonaut's live engineer Victor, who will no doubt make this album sound just as awesome on stage. Even the artwork for World Maker was a family affair, being designed by close friend Sam Coussens of Belgian cosmic sludge metallers Pothamus. In the face of life's soaring highs and desolate lows, World Maker is direct and brave without sacrificing any of Psychonaut's raw power, creative innovation or inimitable musical depth. Where their previous full-length offerings have charted grand introspective courses through time and space, World Maker is breathtaking in its uncompromising clarity: a father singing to his newborn son as a son bids his own father farewell. FOR FANS OF Mastodon, Russian Circles, Tool, Gojira, The Ocean, Pelican, Hypno5e, Cult Of Luna, Amenra

Phylipe Nunes Araújo's songs are as rich and varied as the diverse landscapes they were written in. The hills of Pernambuco, the lagoons of Alagoas, and the beaches of Bahia are all woven into his stripped-back, folk-inspired Brazilian songwriting. As part of a wider movement of musicians originating from Brazil's Northeast, Phylipe sees the process of music-making as the search for beauty itself.

Collaborating with fellow Northeastern artists Bruno Berle, Batata Boy and Nyron Higor among others, Phylipe's debut album represents the latest flowering of this exceptionally talented community's creative search.

The Northeast holds an almost sacred importance in Brazil's collective cultural imagination. The region bore witness to the brutal histories of Portuguese colonization and the African slave trade, while simultaneously amalgamating the diverse cultures, religions and traditions of those who have called it home. Countless Brazilian music greats - Gilberto Gil, Caetano Veloso, Hermeto Pascoal, Djavan and Luiz Gonzaga - have emerged from this vast cultural melting pot.

Born in Caruaru, Pernambuco state, and raised in the city of Santa Cruz do Capibaribe (famed for its textiles industry), Phylipe describes his music simply as "Brazilian music from the Agreste of Pernambuco". His masterful compositions thread together regional rhythm, folk poetry and sophisticated harmony.

Phylipe's musical foundations were laid in youth, listening to the local elders rehearsing their forrós, attending São João street parties in front of his house and watching the Junina Quadrilhas dance through his neighborhood. At street fairs he would read the Literatura de Cordel (handcrafted pamphlets of Brazilian folk literature), and watch the rhyme battles between cantadores, violeiros, and repentistas, who improvise verses on daily life, social commentary and philosophy. This tradition of Northeastern folk poetry proved particularly formative for Phylipe as a lyricist. "I always try to write things as simply as possible. I believe that beauty must be easily understood. If I can facilitate the path to the message, there's no reason not to. It's something I learned from the traditional poetry here: it's more beautiful if everyone understands."

At the age of 11, Phylipe first got access to the internet. As he explains: "Still in adolescence I was also able to discover things like The Beatles and Nick Drake - I started to get to know music from the rest of the world and later to correlate that with my local musical experiences." Rich with extended chords and artful dissonances, it's clear from his compositions that jazz and bossa nova also took hold, but he's quick to eschew stereotypes. "Inevitably, people associate a Brazilian musician playing a nylon-string guitar with bossa nova..." "But the foundation is another story," he asserts, "It's the Northeast."

On the guitar Phylipe experiments with the binary rhythms inherent in traditional Northeastern music. Coco, frevo, maracatu and baião are recontextualised, placed alongside Brazilian popular music (MPB), gentle lullabies and stunning ballads. "In these 10 songs, I am experimenting with making pop music on a nylon-string guitar with my foundation in the Northeastern songbook."

The contemporary musical community which Phylipe belongs to developed initially in Pernambuco's neighbouring state Alagoas. Phylipe lived in its capital Maceió for three years, where he built friendships and musical bonds with Bruno Berle and Batata Boy who together produced his album. Bruno also sings in unison with Phylipe on the duet "Valise", a song Phylipe wrote aged just 15.

In recent years, Phylipe, Bruno and Batata have migrated south to São Paulo, where the majority of the album was recorded. Other collaborators on the album include Alici, who provides vocals for the ebb and flow of "Temperim", Nyron Higor who plays drums on lead single "Asa" and the sweet indie moment "Ziz"", bassist Meno Del Picchia who plays on the mystical baião "Bixin" and the propulsive "Subindo a Ladeira", and Raphael Coelho who joins Bruno and Batata on percussion for "Santa Cruz", Phylipe's hypnotically powerful portrait of his hometown.