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RIDE"s Andy Bell, recording under his electronic alter ego GLOK, and the producer and Insult to Injury label boss Timothy Clerkin have joined forces for Alliance, a brand new seven-track album released by Bytes.

MIRACLE OF SOUND hat weltweit über 1 Milliarde organische Streams gesammelt und zahlreiche virale Hits erzielt, darunter den erfolgreichen Song
„Valhalla Calling“.
Mit Materia (Best Of 2011 – 2024) veröffentlicht Mastermind Gavin Dunne sein erstes physisches Release und Napalm Records Debüt am 08.
November 2024.
Als Multi-Instrumentalist, Songwriter und Sänger hat Dunne mit seinem Solo-Projekt MIRACLE OF SOUND zahlreiche #1 Chartplatzierungen in ganz
Europa erlangt, kooperiert mit Ubisoft, Bioware, Owlcat/Games Workshop, EA und Bethesda und produziert virale Hits. Sein Projekt ist bekannt für
themenbezogene Musik, die von wagemutigen Charakteren, sagenhaften Filmgeschichten, Büchern und Gaming-Klassikern wie Mass Effect,
Assassin’s Creed, Warhammer 40k, Wasteland 2 und Watch Dogs inspiriert ist.
Das Best Of-Album steht als Sinnbild für seinen kreativen Geist und präsentiert eine exklusive Auswahl, die Hörer*innen in die mystischen Welten von
Wikingern, Piraten, Seemannsliedern, keltische Geschichte und moderner Fantasy entführt

Although he began his career as an artist as a producer, working on the hit ‘Le Code’ in 2017 with Ichon, Myth Syzer and Bonnie Banane, Muddy Monk's work today is far removed from hip-hop and closer to a mutant form of synthetic and romantic variety, sung in French. His debut album, Longue Ride, is a collection of songs about adventure, love, violence and the quest for a good life - themes which, for the young man, are all about overcoming his anxieties. So many subjects that he treats with a mechanical and desperate lyricism often close to that of another fan of powerful two-wheelers whose label was called Les Disques Motors: we're talking about the legendary Christophe.

DITC’s legendary producer Buckwild is back with his second producer album of 2020, aptly titled “Music Is My Religion”. His devotion to the craft has made history and continues to do so, with the Bronx’s producer collaborating with more and more interesting new names in today’s game. On this new offering he has gathered guest appearances by Fred The Godson (RIP), Willie The Kid, Planet Asia, Milano Constantine, Has Kingpin, Flee Lord Daniel Son, Rim of Da Villins and Jay Royale among others.

In a world of division, BEÃTFÓØT’s delayed second album is as an invitation to unite at a utopian celebration of life. Originally scheduled for release in October 2023 but postponed due to the ongoing Israel/Palestine war, the intrinsically-political ‘TOO CUTE’ has taken on more prominence than the Tel Aviv duo of Udi Naor and Adi Bronicki could have imagined.
“It's more urgent than ever for us to share this now, even though the album has been ready for a while,” says producer Naor. “BEÃTFÓØT are against any war, and believe that people should talk and not use violence - never,” he adds vehemently. “We feel the pain of Palestinians and Israeli loss of life, and are devastated by it. We hope the war will be finished soon and that peace and prosperity will come soon for both sides.”
While both Naor and vocalist Bronicki have been active in protests, charity work and community efforts over the past year - explicitly against the current government in Israel - such values of peace, acceptance, coexistence, inclusiveness and anti-hate from all sides are further instilled in the songs that form ‘TOO CUTE’.
“We're really trying to highlight that there are people here working tirelessly for a brighter future for our ill kids and our neighbour’s kids,” adds Naor, who is also co-founder of techno duo Red Axes. Having had to flee the country with his family, it’s through music that Naor and Bronicki have found hope.
In light of such conflict, the multi-layered yet sonically-bonkers record also enables escapism, which is needed more now than ever. Following their self-titled 2021 debut (released on DJ Tennis’ label Life and Death), ‘TOO CUTE’ is a refreshingly-ridiculous dark-rave rollercoaster which careers between hard-dance, big-beat, post-punk, techno, hyperpop, country and everything in between.
Things blast off at breakneck speed with the chaotic title track’s hyperpop snares, instantly-catchy lyrics (which feel ominously striking considering the war) and a stadium-ready chorus that erupts into rolling breakbeats, punishing EDM and even a nod to The Bloodhound Gang’s ‘The Magic Touch’. Somehow, we’re just three minutes into the record.
The tongue-in-cheek ‘HEART OF LEAD (TAKE IT OFF)’ still bangs despite its silliness, like if Kero Kero Bonito got in the studio with will.i.am. Later, ‘LEO’S SONG (THE SOCIAL MEDIA GUY)’s wittily satirical one-liners - “I just wanna get high with AI” - come thick and fast amid a barrage of glitches and guitars. ‘SUKC MY DIKC !!!’, meanwhile, pairs flute with pulsing hardstyle beats.
While their first record’s experimental explosion captured the pure carnage and energy of the BEÃTFÓØT universe in a conceptual fashion (though remaining polished in its own way), album two is primed to connect with a bigger audience thanks to its pop melodies, structures and songwriting.

Much of ‘TOO CUTE’ was written while the duo toured Europe for the first time, with rough sketches of tracks created in the moment during their incendiary live shows, and then recorded in planes and cars.
If their first record was a case of testing the vibes, album two is more assured and confident within their sonic world. “In the first album, we stepped into the club, metaphorically, and started making eye contact with everyone to figure out the energy,” Bronicki says. “But, this time round, I already had an idea of the story that I wanted to tell to these random people.”
And what is that story? “Radical silliness, or radical fun – that’s the essence of BEÃTFÓØT,” Naor confirms. “What we really want to do is goof around and have fun, and that brings out something very profound and honest,” he explains. A sense of nostalgic freedom is also at the album’s core, thanks to the removal of adult predetermined social constructs that decide how people should behave or look. “There’s a very honest and positive energy in holding onto your childlike wonder and trying to explore that with others,” Bronicki suggests, adding that “the adult world can be so wrong and angering”.
She feels this relates to both the album’s lyrics and the artistic state of mind that the duo always work to: “the goal is to feed a really thought-out and profound idea, but through a playful spoon,” she says. With this in mind, the recurring theme of ‘TOO CUTE’ stems from the duo’s “radical and lived experience of existing in a place that holds a lot of guilt and fear – because death is so imminent and prevalent in a very confronting way”. This is clearly represented on ‘FOOTYLICIOU$’, on which Bronicki screams “someone’s gonna die tonight!” before emphatically shouting “NOT ME!”
The album title is BEÃTFÓØT’s response to that: “We want to be a celebration of life, and that applies to all lives, of all backgrounds, including animals… that’s our guiding light,” Bronicki says.
“We create in the context of living in a country where the current government’s anti-democratic measures are limiting who is included in the celebration of life. Because different people are always being pushed out and excluded: whether it’s queers, Palestinians or people from different religions.”
BEÃTFÓØT - who have found a home among the LGBTQIA+ community - are fighting back against oppression. “We want everybody to come to the party and celebrate life together,” says Naor, setting out his and Bronicki’s mission… “and our goal is to widen that party as wide as it can go.”




c MANIAC ft. Princess Rani

e WHERE HAVE I BEEN ALL MY LIFE ft. Bugle Boy



c MANIAC ft. Princess Rani

[e] WHERE HAVE I BEEN ALL MY LIFE [ft. Bugle Boy]



[c] MANIAC [ft. Princess Rani]

[e] WHERE HAVE I BEEN ALL MY LIFE [ft. Bugle Boy]

Tiny Mouse Tales was released in 2018. At the time, Evgeny was living in a house surrounded by forest. One night he noticed movement in his kitchen and saw a mouse. The mouse kept coming back but seemed to have different features each time! Eventually Evgeny understood that it was a family of mice, and the title of his new record was evident. On Tiny Mouse Tales Evgeny tells the musical story of the family of mice living in his home, expanding his palate to include the trumpet to great effect on tracks such as “Hunter In Love” and “Prologue.” The blog Spellbinding Music sums it up perfectly: “With short pieces such as “Prologue”, “Epilogue” or “Carousel”, the Tiny Mouse Tales EP sketches wonderful cinematic themes begging to be expanded and heard on the big screen.” Naive Album was released in 2019. Album opener “Where Art Thou” announces the arrival of a masterpiece. More than ever, Evgeny’s compositional voice is fully formed. Each track feels like a journey in itself, and the album has several crescendos that make the listener feel as if there is an entire orchestra backing Evgeny. The album closer, “Unexpected Finale Somewhere in Lisbon,” perfectly encapsulates this masterpiece. Running through three separate, repeating themes, the track is at times mournful, intense, epic and humorous. Witness the picked / improvised violin notes on top of the relaxed accordion theme that makes up the second half of the track. Although the record was recorded in Lisbon, this track has the feeling of a stroll down the Seine in Paris, a silhouette dancing with heels clicking left and right. Now, these treasured recordings and pieces of Evgeny Grinko’s creative world will be available in physical format for the first time.

Clear Vinyl, limitiert auf 200 Exemplare. Gestartet vor, beinahe gescheitert während und endlich fertig gestellt nach der Pandemie ist "Für 3 Minuten 11" das dritte Album der Mannheimer Punkband Kaptain Kaizen. Als Hommage an die durchschnittliche Länge eines Pop-Songs steht der Titel sinnbildlich für die Frage nachdem Wozu des eigenen Schaffens, der Kunst des Abschaltens in der heutigen Zeit und dem unvergesslichen Genuss eines vergänglichen Moments. Die zehn Tracks der Platte durchleuchten verschiedene Themen, meist in kritischer Auseinandersetzung mit aktuellen gesellschaftlichen Entwicklungen.

Fresh from starring as the town drunk, no typecasting here!, in Rio Bravo’ (the movie) Dean was at the height of his popularity when he entered the Capitol studios in the summer of 1959 to record his first Christmas-themed songs accompanied by an orchestra arranged and conducted by Gus Levene. The results of the recordings were a charming, thoroughly entertaining Christmas record, highlighted by fine versions of "White Christmas", "Let It Snow! Let it Snow! Let It Snow!", "Winter Wonderland", "Baby, It's Cold Outside", "The Christmas Blues", “Rudolph, The Red-Nosed Reindeer” and bonus broadcast recordings of "Silent Night", “Silver Bells” and “It’s Beginning To Look Like Christmas.”

‘Trust The Stars’ is the brilliant new album by Chicago-based The O’My’s that comes via HiyaSelf Recordings – the label founded by legendary DJ & producer Nightmares On Wax.

Comprising of Chicago natives Nick Hennessey and Maceo Vidal-Haymes – the duo channel their experiences into gritty, genre-bending music that grabs listeners with its sound & forms a rich palette of sonic influences through soul, hip-hop, lo-fi, alt-R&B, jazz & washed-out psychedelia.

Having worked with some of the biggest names in the industry, including Chance the Rapper, Noname, Saba, and Mick Jenkins, the new album is no different - featuring a host of esteemed collaborations including tracks with Children of Zeus’ Konny Kon; the incredible poet & singer Jamila Woods, fast becoming a leading light in the alt-R&B & neo-soul scenes; and the Pitchfork championed Southern rapper Pink Siifu.

Born out of a period of experimentation and endless creation, the forthcoming album explores themes of love, loss, and personal rediscovery, with a maturity and depth that reflects the duo's years of experience.

Led by pianist/composer Barbara Fiig, the ensemble is made up of three creative communicators self described as blue sheep " of the jazz world. First stumbling into each other at the music education program at Classical Music Conservatory DKDM, their sound is rooted in collaboration and community, drawing on elements of musical poetry, jazz, folk, Nordic and Classical traditions. Regarding the name Blåly , the trio explains that it is a made up word open to interpretation. Derived from the wordly "", meaning shelter " in Danish, it is reflective of the shared feelings of safety and introspection the trio find in their music making and that they hope to impart onto their audience. Exploring themes of motherhood, new beginnings, mental health, identity, and the cathartic potential of music, the record is built around Fiigs personal approach to the piano. Combining gentle lyrical melodies and colorful melancholic harmony, Blåly perform and interpret each piece with a mature, spacious and textural sound palette, ebbing and flowing between the composed and the improvised in a collective exchange of ideas and energy. Driving drum grooves, hypnotic piano patterns and ethereal timbres from bowed double bass craft a stripped back sound world that is simple, immersive, honest,

Ihr perfekt harmonierendes Duo setzt auf starke Kontraste und lebt von Empathie und intensivem Austausch. – Deutschlandfunk
Nachdem sie bereits bei mehreren Aufnahmen von Louis Sclavis für ECM zusammengearbeitet hatten,
darunter das letzte Album des Klarinettisten, betitelt Characters On A Wall, konzentrierten sich Sclavis
und der Pianist Benjamin Moussay in den letzten Jahren zunehmend auf ihre Duo-Kommunikation und
spielten in dieser Konstellation ausgedehnte und vielbeachtete Konzerte in ganz Europa. Mit einem Programm, das zu zwei Dritteln aus der Feder des Pianisten und zu einem Drittel aus der des Klarinettisten
stammt, erschafft das französische Duo eine Welt der kammermusikalischen Konversation, in der sich
lyrische Kontemplation und skurriler Erfindungsreichtum in einer fröhlichen, konzentrierten Zusammenarbeit abwechseln. Nachdenklich hüllt das Duo heikle Themen in warme Improvisationen, die nie überstürzt,
sondern geduldig das geschriebene Material mit seltener Kreativität und in fließenden Dialogen erkunden.
Unfolding wurde in den Studios La Buissonne, Südfrankreich im März 2024 aufgenommen und von Manfred
Eicher produziert.

With Tenderness, T. Thomason builds a universe around central themes of self-acceptance and selfdetermination through purposeful expressions of queer and trans liberation. The album is the
convergence of creative confidence and life experience, both a witness to and a catalyst for T.’s evergrowing presence and artistic vision

Mysterious, multifaceted collective i Häxa have unveiled their epic self-titled, full length debut; a ground-breaking conceptual double album shaped by a collision of ancient gods and bleeding-edge technology_ Released as four distinct Parts over the course of the year, `i Häxa' now comes together as a singular vision that weaves together genre-defiant soundscapes, abstract cinema and ancient meteorological mythologies from singer-songwriter and visual artist Rebecca Need-Menear (also of electronic alt-rock duo Anavae) and forward-thinking producer Peter Miles (Architects, Dodie, Fizz). i Häxa is a ritualistic dissection of the world as we know it, a forceful separation of the monotony of modernity from the rites and rituals that for centuries formed the foundations for who we are, how we came to be and where we claim to belong. Disjointed fragments of time collide. Two sides, one of logic and one of chaos, seeking unity and balance through an expression of freedom. This is i Häxa. Whilst the album is composed of four distinct movements, each consisting of four distinct tracks themselves; pulling them apart into easily digestible, standalone singles isn't an easy feat and, as is now clear from the project's sprawling cyclic nature, was never the intention. In an age of fast fun and instant gratification, the ties that bind these works together are intended to transcend tracklisting. With aural, visual and lyrical themes freely intertwining, i Häxa is something to be consumed whole; just as it will, in time, consume you. Charting an existential journey to the very depths of what makes us who we are, with every dark corner illuminated in glitched out, discordant glory; i Häxa is a project years in the making that draws simultaneously from rituals for old gods and the modern day deification of data. i Häxa is both heartwarming and horrifying; i Häxa is ancient history and hyper-real; i Häxa is everybody and no one at all. Check out if you like Radiohead, Julie Christmas, Agnes Obel, Bjork, Fever Ray, Massive Attack, Dead Can Dance, Emma Ruth Rundle, Jenny Hval, Cult of Luna, Eivor, Zola Jesus, Marissa Nadler, Soft Moon

"L'œil De La Tigresse" by Delphine Dora & Anaïs Tuerlinckx presents six different sonic explorations of hidden aspects of perception and past experiences. Song titles that conjures images of freedom and exploration in untamed spaces. A raw experience that explores jazz and free improvisation, the contrast between tranquility and underlying longing.

Released under the Possible Motive label the album features six pieces that explore sound and identity.

Anaïs Tuerlinckx, a pianist and sound artist from Brussels, is involved in the Berlin improvised music scene. Her performances blend intensity with open spaces, achieved through her play on the piano and found objects, including a string box that adds depth to her sound.

Delphine Dora is a French musician and composer known for her work with keyboard instruments and field recordings. Her performances, often improvised, showcase her voice alongside various instruments, creating a rich blend of sounds. Over 15 years, she has developed a unique musical universe that crosses genres and languages, exploring themes of identity and the sacred. A prolific artist, she has participated in over thirty recordings and founded the Wild Silence label.

Der Ausdruck von hart erkämpftem Optimismus umschließt The Good Kind, ein Album, das Themen wie Sexualität, Beziehungen, Gemeinschaft und Krankheit erforscht. Die für Our Girl typische Dynamik durchdringt das Album, von schweren Gitarren und aufsteigenden Lead-Linien bis hin zu ohrwurmartigen Refrains und intimen gesanglichen Momenten. Voller Wärme und Ehrlichkeit ist The Good Kind eine Feier der Entschlossenheit – der Entscheidung, sich gegen alle Widerstände dem zu widmen, was zählt.
The Good Kind wurde in den Rockfield Studios aufegenommen und produziert von der Alt-Rock-Legende John Parish (PJ Harvey, Sparklehorse), Fern Ford (The Big Moon, Prima Queen) und Soph Nathan selbst. Für Our Girl spiegelt es den langen und kurvenreichen Weg zu ihrem zweiten Album wider, und die dauerhafte Belohnung für das Vertrauen in den Prozess.

Während des Entstehungsprozesses von The Good Kind haben Our Girl gelernt, sich selbst zu vertrauen, den schwierigeren Weg durchzuhalten und ihn als den einzigen zu erkennen, der es wert ist, gegangen zu werden. Die Entscheidung, dem Sound nachzujagen, den sie wollten, war der ermutigendste Moment ihrer bisherigen Karriere, und es hat sich ausgezahlt: The Good Kind ist ihr bisher selbstbewusstestes, bewegendstes und am besten umgesetztes Werk.

Next up on Feral Child comes the debut vinyl release from Austin Tx psych outfit NEON LEMON.

Having caught the eye of label head Dom on some cool looking, local Spacemen 3 themed nights’ posters; further digging revealed this incredible, richly melodic, yet deep psychedelic beauty with -seemingly- no home for a release on wax, so it was pretty easy to step in and offer to release it. “Hypnagogic Visions” is a superb, fuzz n’ drone drenched 6 track 10” LP in a sleeve designed by the legendary Jim Franklin (a friend of the band) who famously designed beautiful posters, flyers and gig tickets for the Elevators, Shiva’s Headband and Canned Heat amongst others, in his role as owner of the Vulcan Gas Company, a revered 60s Austin psychedelic club and concert hall. As Ben Siebert from the band explains: “This record was mostly written and recorded in a warehouse space outside of Austin (that no longer exists) called The Inner Chamber. We tried best to capture our live sound in this space, and with most band members in a state of constant turmoil at the time of its recording, this space offered a refuge from our personal lives and a place to transcend reality through creation of this music.” Neon Lemon blends together mind altering psychedelic sounds of the 60's with transcendent space rock of the early 70's. Finding their own balance between free form psychedelia and a mainline of roots rock and roll.

Limited one time 10” pressing, distributed by Forte Music Distribution and available late October 2024.

TexiCali, the new album from Grammy winner Dave Alvin and Grammy nominee Jimmie Dale Gilmore, continues to bridge the distance between the two troubadours’ respective home bases of California (Alvin) and Texas (Gilmore). The geographic theme reflects Alvin’s repeated journeys to record in Central Texas with Gilmore and the Austin-based backing band that has toured with the duo for the past few years. As Alvin puts it in the liner notes, those road trips informed the music they made on TexiCali. The 11 songs on this double LP also connect their shared fondness for a broad range of American music forms. Gilmore is primarily known for left-of-center country music, while Alvin’s compass points largely toward old-school blues. But there’s a lot of ground to cover beyond those foundations, and both artists also are well-known for transcending genre limitations. So it’s not surprising that they’ve spiked TexiCali with cosmic folk narratives, deep R&B grooves and even swinging reggae rhythms.

Legowelt returns to Clone Records with yet another sonic journey that defies conventional electronic music boundaries, offering an album that is as eclectic as it is immersive. Blending different styles and textures seamlessly and proving that electronic music can still be creative and that function doesn't always prevail style. He delivers a collection that transports listeners through a kaleidoscope of retro-futuristic sounds, deep grooves, and cosmic melodies. Despite being in the music game for more than 25 years the music from Danny Wolfers remains playful and refreshing. Stylistically taking elements from his whole musical career and not commiting to the latest trend or any genre specifically, and low-key taking the piss with everyone who takes themself to seriously. While many electronic music artists are stuck in their own void, busy pleasing the big room, Legowelt meticulously crafts rich textured soundscapes, balancing between cosmic exploration and the dancefoor, that evoke both nostalgia and futuristic visions. His ability to fuse elements of house, techno, disco and electro with cinematic influences results in an album that is not only ready for club use but also gratifying at home. Each track offers something unique--whether it's the hypnotic rhythms, the lush synth lines, or the subtle, eerie undertones that creep in unexpectedly. Legowelt's attention to detail and passion for his craft shine through, making this album a worthy follow up to his last album on the Clone Jack For Daze series.

Forging his own path into the future... With roots in the U.K. club and hip-hop scenes, drummer Richard Spaven brings a fresh approach to the instrument that's at once modern and traditional. Combining machine-like accuracy with jazz-influenced improvisational sensibilities, Spaven's drumming has landed him gigs with vastly varied artists such as UK rapper Loyle Carner, Guru of hip-hop duo Gang Starr, producer Flying Lotus, vocalist José James and Brainfeeder artist Jameszoo. Spaven's brilliance is evident beyond his world-class performance abilities; he's equally impressive in production and compositional territories.


Sole Subject, a captivating crossover of electronica, hip hop, and jazz, explores the nuanced relationship between live drumming and electronic elements, a theme intricately woven throughout Spaven's sixth solo record. Originating from deep, rhythmic ideas, each track is a testament to intense experimentation and precision. At the core of the album are the drums, captured as full live takes which often blur the lines, appearing as if they were programmed or sampled. Dive into Sole Subject and experience a musical journey where innovation meets tradition, and where each beat tells a story of relentless creativity and dedication. The release of the record will be celebrated with a headline show at Jazz Café October 30th.

Scored by the legendary Italian film composer Armando Sciascia, Sea Fantasy is a conceptual suite of twelve exotic themes evoking the many moods and dramas of life under the sea. Recorded in 1972 for Sciascia's own Vedette label, the album is a key recording within the micro-genre of Italian underwater library music. A mosaic of evocative modern classical, flamenco textures and a surge of raw analogue synthesizers. Mysterious aquatic music that sits comfortably alongside other Italian Soundtrack and Library recordings including the lush bossa of Daniele Patucchi's Men Of The Sea (CAM) as well as the experimental electronics of Biologia Marina by Amedeo Tommasi & Alessandro Alessandroni (Rhombus). With several cues used for the English-version soundtrack to Harald Reinl's 1976 (Erich von Däniken inspired) mondo-documentary Mysteries Of The Gods, Sea Fantasy is reminiscent of the exotic mood-music scored for Folco Quilici's documentary Oceano composed by Ennio Morricone as well as Luigi Scattina's legendary tropical sexploitation film Il Corpo composed by Piero Umiliani. This new 2019 edition has been newly remastered and expanded with additional liner notes and photos.

Remastered and expanded edition.
Legendary Italian underwater Library recording
Replica vinyl reissue of the rare 1972 LP
Mysterious aquatic mood music

This soundtrack album, recorded with an orchestra, is based on the image album of ‘Whisper of the Heart.’ It also includes the main theme song, "Country Road."

Recorded using various traditional musical instruments, the album includes Japanese-style music, samba, mambo, and more, featuring songs like "Itsudemo Dareka ga".

Following the cult success of the first 2 EPs, Common Saints presents
the debut album "Cinema 3000". The theme continues, blending soul,
funk, and psychedelic influences, with the organic sound and rich
instrumentation that Common Saints has become known for.

Conceived in 2020 by writer/producer Charlie J Perry the production approach

for Commons Saints consists of him playing and recording real instruments in his

London home studio. One mike for the drums, his beloved piano and amps up

loud!



The album encapsulates the old school recording approach and musicianship the

discerning ear craves but with a more modern punch - a true sonic bath for all the

connoisseurs out there. Think, UK's equivalent to Tame Impala and Khruangbin.



The first EP "Idol Eyes" (2020) has seen 3 re-presses to date and is now selling at

multiples on Discogs. "Cinema 3000" is set to surpass expectations and is highly

anticipated within the Commons Saints community. The first LP pressing is on a

' blue meteorite splatter’ effect colour vinyl and will be limited to 2000 units

globally. Also available on CD, presented in a 6-panel digipak.

Planet Pearl' ist das bereits zweite Album des französisch-amerikanischen Duos Pearl & The Oysters für Stones Throw und der Nachfolger ihres 2023 erschienenen insgesamt dritten Albums 'Coast 2 Coast'
'Planet Pearl' zeigt Juliette Pearl Davis und Joachim Polack als schiffbrüchige Weltraumforscher, die auf der Erde gestrandet sind und über ihre eigene Entfremdung vom Planeten nachdenken, während sie sich in einer fremdartigen Welt bewegen.
Die Songs von 'Planet Pearl' reichen von fröhlichem Jazz-Pop bis zu depressiver Disco-Musik und behandeln schwere Themen wie Familienkrankheiten und Neurodivergenz mit leichter Hand.
Aber egal, wie melancholisch oder entfremdet sie sich fühlen, P&TO sehen immer auch die lustige Seite. Bereit zur Landung auf 'Planet Pearl'?

2024 Reissue

The music of LSN always has a certain level of grit texture and foreboding. In the background chains drag the drums always contain a certain amount of breaking snap. The sum total though is not a haunting but more of a three dimensional submersion into a rhythmic organisation of these sounds. The work in a way announcing how it’s been made by giving you beds of variant sounds mixed so well that can create your own narrative story to the soundtrack that you’re hearing. That narrative potential is something that marks this album as notable in the electronic music sphere.

Nach dem 2017er Solo-Debüt "How The West Was Won", Perretts erstm Album nach fast 30 Jahren, und dem 2019er Nachfolger "Humanworld, erscheint nun Perretts drittes Solo-Album "The Cleansing" mit Gästen, wie Johnny Marr, Bobby Gillespie, Fontaines D.C.'s Carlos O'Connell uvm.

Nach dem 2017er Solo-Debüt "How The West Was Won", Perretts erstm Album nach fast 30 Jahren, und dem 2019er Nachfolger "Humanworld, erscheint nun Perretts drittes Solo-Album "The Cleansing", ein ambitioniertes Doppelalbum mit 20 Songs.
Neben seinem bewährten Team, bestehend aus seinen Söhnen Jamie (Gitarre/Produktion) und Peter Jr. (Bass) sowie Mitgliedern seiner Live-Band, wird Perrett von einer Reihe von Stargästen unterstützt, darunter Johnny Marr, Bobby Gillespie, Carlos O'Connell von Fontaines D.C. und Dream Wife-Gitarristin Alice Go.
Perretts einzigartige, narkotisierende und verführerische Melodien, sein hinreißender Süd-London-Ton und seine mitreißende Rock-Dynamik verbinden sich nun mit einer größeren Bandbreite an musikalischen Arrangements und lyrischen Anliegen - unter anderem zu Themen wie Kunst, Sucht, Altern, Social Media und Hexenprozessen.








[h] B2 Survival Mode
[i] B3 Mixed Up Confucius

With his Premise EP, Felix Fleer unites long-held ideas into a cohesive and deeply personal collection, offering a unique blend of intricate textures and fragile harmonies that reward attentive listeners with its meticulous attention to detail. The title track “Premise“ opens the A- side with an infectious garage groove and Fleer’s signature brand of detuned vintage polysynths, building up to a bright crescendo that reveals a rhythmically captivating vocal hook. “Know U” features a piercing drum groove, occasionally interrupted by abstract Buchla glitches and a reduced RnB vocal chop paired with ethereal, almost organ-like layers of pads to culminate in a stripped-down moment for the bass line to take center stage. The main theme of “Thinkage” is a classic break paired with a layered pattern of abstract, percussive vocal chops. This rhythmic pulse is accompanied by a wild harmony of constantly warping and evolving pads and drawn-out bass sounds. Opening the B-side, “Real Love” is the darkest tune on the EP. Its unstable chords and intricate, unpredictable textures induce a constant sense of unease, held together by a subtle techno groove. “Rush” contrasts this with a euphoric chord progression reminiscent of early post-dubstep anthems. The EP closes with “Drift,” a final climax that revisits previous themes, offering a powerful and uplifting resolution.

Matthew Herbert setzt seine Soundtrack-Produktionsreihe mit der Musik für den britischen Horrorfilm "Starve Acre" des Regisseurs Daniel Kokotajlo mit Matt Smith und Morfydd Clark in den Hauptrollen fort, der im September 2024 erscheinen soll - eine düstere Untersuchung von Trauer, Glauben und Übernatürlichem, die stark auf Folklore und Mythologie zurückgreift. Der OST folgt auf Arbeiten für Independentfilme wie "The Wonder", "The Cave" oder den Oscar-nominierten "A Fantastic Woman" und ist eine minimalistische Übung in Spannung und Zerbrechlichkeit, die geduldige Instrumentierungsfäden mit atmosphärischem Sounddesign verbindet – romantische Wogen der Orchestrierung gegen drohenden Druck im unteren Frequenzbereich und körperlose, unnatürliche Stimmen, die die bösartigen Kräfte darstellen, die im gesamten Film angedeutet werden. Er enthält zusätzlich zwei Versionen von "Let Me In", einer Interpretation des englischen Volksliedes "It Hails, It Rains, It Snows, It Blows" aus dem frühen 20. Jahrhundert, gesungen von Matt Smith und gespielt vom Folk-Elektronica-Duo Crewdson & Cevanne (Hugh Jones & Cevanne Horrocks-Hopayian) - ein bezauberndes Finale für die allgegenwärtige Düsterkeit der weiteren Partitur.

Fourth R.A.N.D. Muzik x Echocentric Records collaboration release is an album by DC Salas.

DC Salas' second album, To The Places I Call(ed) Home, is a deeply personal exploration of memories, grief, and the concept of home, blending house, progressive, new beat, acid, goa, and trance.

Crafted over two years in his Brussels studio and on the road, the album served as a healing process following personal losses and reconnects Salas with his father's Peruvian roots. It features collaborations with Curses and Moroccan artist Zaatar, and each track reflects moments that shape his life while honoring fragments of his past.

Despite its themes of loss, the album radiates positivity with bright dancefloor moments and new beginnings.

The kings of Cricket themed Street Punk are back! "MOTORHEADINGLEY" is the fifth album by the legends that are GEOFFREY OI!COTT! They've donned the whites again ready for the new season, and bowled us over with 12 new hard hitting future punk classics that will hit you for six!

Kenner von Richard Swift wissen, dass sein Katalog umfangreich und phantasievoll ist, vollgepackt mit ebenso vielen ausgefeilten, eiskalten Klassikern wie verrückten Ein-Take-Experimenten. Diese Kleinode kommen in allen Formen und Größen, und während das den Eingefleischten nichts ausmacht, ist der Einstieg in die Musik von Swift für den Neuling schwierig: Wo soll man anfangen? Was kommt in die engere Wahl? Wie viele Crooner? Wie viele wilde Lieder? Vor diesem Hintergrund präsentiert Secretly Canadian "4 Hits & A Miss - The Essential Richard Swift", einen bescheidenen Versuch, die siebenundvierzig Minuten und vierzehn Songs zusammenzutragen, die die Uneingeweihten einführen können. Wenn Sie Richard Swift nicht kennen, lassen Sie sich von dem unvergleichlichen Kevin Morby aufklären: "Es gibt einen alten Pfadfindermythos, von dem ich als Kind gehört habe, dass man eine Kapelle bauen kann, wenn man die richtige Person mitten in den Wald setzt, bewaffnet nur mit einem Schweizer Taschenmesser. Wenn ich an diesen Mythos zurückdenke, denke ich an Richard Swift, der, wenn man ihn mitten im Wald mit einem 10-Dollar-Radio-Shack-Mikrofon absetzte, irgendwie ein Studio bauen konnte und in diesem Studio eine Kapelle des Klangs errichtete. Tatsächlich hat er genau das in seinem eigenen National Freedom Studio mitten in den Wäldern von Oregon getan, in einer Stadt namens Cottage Grove, wo er unzählige Stunden seiner eigenen Musik und der anderer Leute aufgenommen hat. Diese Kapellen des Klangs werden - und ich habe es bereits erlebt - kommende Generationen in Ehrfurcht versetzen und inspirieren, so wie es die Steinkapellen im frühen Europa tun. Beide lassen die Menschen verblüfft zurück und fragen sich: Wie konnte etwas so Massives und Schönes mit so minimalen und archaischen Mitteln gebaut werden - und in Richards Fall so schnell? Nach ihrem Tod scheinen die meisten Künstler endgültig zu ruhen, ihre Kataloge ruhen für immer neben ihnen. Aber Richard scheint aus dem Jenseits rastlos zu sein, und die Arbeit, die er hier unten auf der Erde begonnen hat, geht weiter. Sein letztes Album, The Hex, wurde nur wenige Monate nach seinem frühen Tod im Jahr 2018 veröffentlicht, und jetzt haben wir mit 4 Hits and A Miss eine Sammlung seiner beliebtesten Songs sowie einen neuen, noch nie zuvor gehörten Track "Common Law", aufgenommen um 2012. Ob Gelegenheitsfan oder Swift-Purist, 4 Hits & A Miss ist entweder ein perfekter Startpunkt oder ein Ziel für uns eingefleischte Fans, um wieder einmal etwas Neues zu finden, das uns beeindruckt und inspiriert. Wie ein versteckter Raum in seiner bereits beeindruckenden Kapelle gibt es immer etwas Neues von unserem geliebten Freund und Helden, dem verstorbenen großen Richard Swift, zu entdecken." Viel Spaß!

On How It Ends (?), slinky melodies snake through nocturnal atmospherics, drawing you into a world built on poetic, painterly lyricism. Night Crickets, a long-distance groove affair that materialized during the drawn-out days of lockdown, has emerged once again to soundtrack our waking dreams.

David J (Bauhaus, Love & Rockets), Victor DeLorenzo (Violent Femmes) and multi-instrumentalist Darwin Meiners spearhead a loose collective of like-minded creative souls whom, through sheer tenacity and a burning desire to collaborate and create, transcend the restrictions of space and time. Audio files shared from Los Angeles to Milwaukee, from London to the San Francisco Bay, and the ghosts of Candlestick Park shimmer through the fog, coalescing in a glorious ‘gesamtkunstwerk’ that draws from the past, the present and the imagined future.

Declaring Bauhaus, Love And Rockets, and Violent Femmes iconic, foundational bands in the history of alternative music would receive little pushback from those in the know. San Francisco born artist Darwin Meiners is a fan of all three. A chance meeting with David J grew into a friendship, and Darwin not only became a bandmate, but his manager. After reaching out to Victor DeLorenzo through e-mail, Darwin met the Violent Femmes drummer after their set at Coachella. Soon, after the three collaborated on Darwin’s 2014 release Souvenir.

As the pandemic took hold, Darwin was looking for a new project to occupy the lock down time and approached Victor, who was keen to proceed and suggested that David join as well. The musical trust established between these three was immediate and Night Crickets were born. Within weeks a global process was initiated between them, the recordings eventually forming the album, A Free Society.

Following that release, inspired by how well – and quickly – they all worked together, the trio kept up their collaboration. “We are each free to discover musical connections that could only exist in an ideal creative setting” explains Victor. “We are very lucky to have three musicians who write, sing and play various instruments in one trio… our egos seem to melt into one when we face musical decisions, so our expeditions are always filled with pure discovery, humor and drive!”

How It Ends (?) was crafted with the same collaborative spirit as A Free Society. Each member contributed contributed unique elements to spur their collective creativity—whether a drum pattern, a lyrical concept, or a musical idea—and together, they expanded these initial sparks into the finished work. True to their approach, much of what you hear was captured in the first take, reflecting a genuine, unfiltered moment.

The music on the How It Ends (?) is a true evolution of the debut album. It is deeper and darker. Having said that, the dark tone is alleviated by a healthy measure of the buoyant, bouncy and melodic. “Much of the new material is very psychedelic and the contrast between this heavy, dark psychedelia and the more uplifting pop elements puts me in mind of The Beatles’ ‘Revolver’ album to some degree,” tells David J. “The recording process for the new album was exactly the same as the first in that we all recorded remotely, taking turns to share files and reacting spontaneously to the previous track, overdubbing then passing on once again until we all felt that the track was done.”

“While we didn’t start with a specific theme, the album emerged as a contemplative exploration of endings” says Darwin. “It touches on the loss of individuals, the shifting of ideas, and the fragility of systems. Beneath this sense of darkness and finality, however, there are threads of beauty and glimpses of hope. We invite you to immerse yourself in the album and experience the journey we’ve embarked upon.”

Not much has been written written about the conceptual hardcore band inspired by and named after a 9th century antisocial loner monk-poet of China’s Tang dynasty. Han-shan the band existed from 1991 to ‘93 in California. Their lyrics covered themes of solitude, mystery, poverty, and discord, directly inspired by the verses of the titular poet. Han-shan’s music was psychopathic, with blood-curdling vocals, and messy but powerful, in the vein of Void, Siege or Septic Death. The band played to the absolute limits of their physical ability and then some, with a sound that complemented their West Coast contemporaries—bands like Heroin, Mohinder, Second Story Window, Antioch Arrow and Angel Hair. Recorded in San Diego by Matt Anderson in late 1993 and originally released posthumously in early 1994 on the tiny Soledad record label, Hans-shan’s eight song seven inch EP came packaged in a manila envelope, each one hand-printed with a woodcut block and roller, with the art and insert referencing both the poet and Tang dynasty China. LG Records has carefully reproduced this cover art and returned to the original multitrack tape. Tim Green has remixed the recording at Louder Studios for a significantly more powerful, and yes, LOUDER, 12” 45rpm release. Members of Han-shan had previously been in Suckerpunch, Brain Tourniquet, End of the Line, and John Henry West; and went on to play in Behead The Prophet NLSL, Solid Gold, Drunk Horse, Astral, Tight Bro’s from Way Back When, Sex/Vid, Very Paranoia, Low Plateau and Nudity. For fans of fast, out of control hardcore with a raw emotional edge. And saxophone.

Solid Yellow Vinyl, limited to 150 copies. Comes with a sticker sheet. The 'Lightless' EP sees AS FRIENDS RUST confronting existential and cosmic loneliness with intensity, imagination and, of course, hooks. Picking up where 2023's Any Joy LP left off, and now joined permanently by bassist Andrew Seward (Against Me!), the band presents five urgent rockers that rage through both inner and outer space, leaving only earworms in their wake. Writing for Lightless began immediately upon the band's return from their tour of Europe in support of 2023's Any Joy LP. Picking up where the album left off, the Lightless EP is a massive, catchy work focusing largely on cosmic loneliness -- a theme echoed in its airbrushed, 70s/80s sci-fi artwork. The EP was mixed by long-time collaborator James Paul Wisner (Further Seems Forever, Paramore, Dashboard Confessional), and mastered by Will Killingsworth at Dead Air, and will be released on November 1st, just days ahead of the band's tour supporting QUICKSAND and HOT WATER MUSIC. 'Lightless' will be strictly limited to 500 copies across five vinyl variants, each including a sci-fi/spaced travel sticker sheet. The exclusive END HITS RECORDS/EVIL GREED variant will feature a limited patch, perfect for your 80s satin bomber jacket or heavy metal jeans vest.

Just under a year after their acclaimed self-titled debut, dreampop duo deary release a brand new six-track EP – Aurelia – via Sonic Cathedral on November 1. It includes the singles ‘The Moth’, ‘Selene’ and ‘The Drift’ and features Slowdive drummer Simon Scott playing on three songs. It will be available on three different vinyl variants, a CD with three bonus tracks and digitally. It’s a stunning record, which displays a new-found maturity in terms of production as well as musically and lyrically. The band – singer Rebecca ‘Dottie’ Cockram and guitarist/producer Ben Easton – have had to grow up in public since the release of their debut single at the start of 2023, supporting legends such as Slowdive and Cranes and TikTok sensations like Wisp along the way. An aurelian is a rare old term for a lepidopterist – someone who studies and collects moths – derived from the Latin aurelia, meaning chrysalis. The perfect title for an EP which is based around the theme of metamorphosis and change. “It leans on the natural world, the human body, the earth and sky as well as human emotion,” says Ben of how the EP represents physical and metaphysical growth. “Change can be daunting but equally exciting, which is something we’ve come to learn.” “While writing the EP, I found a letter I had written to myself when I was 22,” adds Dottie. “I was fresh out of university and had moved back in with my parents as Covid was in full force. I was uninspired and lost and reaching out to my future self for some hope. It was a physical representation of what can happen in a few years; how much can change and how you never know what’s coming next. “I found it interesting that – at the age of 26 – here I was looking back to my younger self for hope or just some comfort in the fact that things will and do move on. It was important to me to bring both of these versions of myself into the new songs.” “Personally, I had noticed a change in myself; a new level of social anxiety, a strange disassociation to things that once brought me joy as well as negative repetitions in my daily life,” reveals Ben. “I began the year sober which allowed me to finish the writing process as a letter of care to my own mental health. There are motifs throughout the EP – for example the riffs in ‘The Moth’ and ‘The Drift’ being reminiscent of each other – which are like musical reflections of these repeated cycles.” It’s musically where the change deary have undergone is most obvious. ‘The Moth’ mixes howling guitars atop a strident breakbeat making it more Curve than Cocteaus; ‘Selene’ is a slow-building wall of noise; ‘The Drift’ combines a perfect pop melody with an incredible sense of urgency. These three singles are balanced by the brief but beautiful ‘Where You Are’ which leads into the Portishead-style trip-hop of ‘Dream Of Me’. The title track has been a staple of their live sets for about a year as ‘Can’t Sleep Tonight’, but its mix of The Cure circa Disintegration and Mezzanine Massive Attack has grown and evolved so much that they renamed it ‘Aurelia’ as the embodiment of the change they have been through. “We’ve allowed deary to naturally grow over the past year, we didn’t want to force it to take a certain shape or sound,” explains Dottie of the duo’s slow and steady approach. “A lot of the last EP was written by sending ideas back and forth over WhatsApp, but this time we were able to sit in the same room and I think that really shows. We know each other a lot better now as we have experienced this journey together and that benefits the writing process as we are more open with each other and can be vulnerable.” “Aurelia definitely feels a lot more collaborative, more personal and more fully realised than the first EP,” concludes Ben. “It feels like a real document of what has been a very important time in both of our lives. Ironically, the band has changed and matured even more since the recording, so we’re both excited to document the next stage

Allt wurde 2020 gegründet und ist eine progressive Metalcore-Band aus Karlskoga, Schweden, die für ihr audiovisuelles Storytelling und ihre innovative Herangehensweise an Metalcore bekannt ist. Nach ihrer zweiten EP "The Seed Of Self-Destruction" aus dem Jahr 2022, die als genreübergreifende Metalcore-Veröffentlichung gefeiert wurde, sind Allt nun dabei, ihren charakteristischen Sound mit ihrem Debütalbum "From The New World" zu festigen. "From The New World" ist eine akribisch ausgearbeitete musikalische Reise der Selbstfindung nach der Zerstörung. Das Album ist inspiriert von den Spannungen und Ängsten in der Welt und erforscht Themen wie Zusammenbruch und Widerstandsfähigkeit in der Folge eines nuklearen Ereignisses und der emotionalen und philosophischen Landschaft, die darauffolgen würde. Um sich voll und ganz auf den kreativen Prozess und die Themen des Albums einzulassen, verbrachte die Band einige Zeit isoliert in einer Waldhütte. Jeder der 10 Tracks von FTNW erzählt eine einzigartige Geschichte von Verlust, Hoffnung und menschlichem Durchhaltevermögen, eingerahmt vom kosmischen Mysterium des Fermi-Paradoxons. Vom ersten Track, "A Flash of Light", bis zum letzten Track, "Cycles", geht es darum, sich durch das Chaos zu bewegen und in einer chaotischen Welt Sinn und menschliche Verbindung zu finden. "Über solche Themen zu schreiben, erlaubt es uns, unsere Gedanken und Gefühle zu verarbeiten, während wir unseren Zuhörern einen Raum bieten, ihre eigenen zu erkunden. Es geht darum, mit unserem Publikum auf einer zutiefst persönlichen und universell relevanten Ebene in Verbindung zu treten". Das Album vermischt mechanische und organische Klänge und beschwört sowohl die Trostlosigkeit als auch die stille Schönheit des Lebens inmitten der Nachwehen. Der Sound ist eine Mischung aus raumgreifenden Synthesizern, die alles von den unheimlichen Qualitäten von Radiowellen bis hin zu riesigen Maschinen mit immenser Rechenleistung nachahmen. Die dynamische Instrumentierung, der kraftvolle Gesang und die organischen Elemente verankern die Musik zusätzlich in einer greifbaren Realität. "Dieses Album ist eine Reise, und wir laden jeden ein, mitzukommen. Es geht darum, Empathie und Verbundenheit zu finden, selbst angesichts all dessen, was passiert ist. Es ist ein großer Schritt in unserer Entwicklung als Band, der zeigt, wo wir gewesen sind und wohin wir gehen. "From The New World" ist als CD Digipak, schwarzes Vinyl und digitale Version erhältlich.

For their 2nd 12" ONLY CHILD introduces a new sound for a new, fictional neighborhood in Manhattan. ALEX BURKAT with his take on modern deep house alongside KALYPTRA with a unique Ecuador via Philly flavor. The result is an ethereal, body moving soundtrack to walking the streets of NYC in 2024.

Ryan James Ford's Fuzz Gathering is a five-tracker that delves into the artist's personal exploration of sound and texture. Centered around the concept of ''fuzz gathering,'' Ford collects, analyses, and manipulates various sonic elements using innovative techniques and processes. Each track offers a fresh perspective of his sound, blending intricacies with experiments to create a unique auditory experience. Complementing the music is Ford's own artwork, which visually mirrors the EP's theme of exploring and deconstructing textures, adding another dimension to this creative expression.

Classic soundtrack with the title track and the classic instrumentals 'T plays it cool' and 'T' stands for trouble'.

KahruMusiqa ist eine musikalische Retrospektive der tunesischen Sängerin und Komponistin Badiâa Bouhrizi alias Neysatu. Sie ist als Autorin der Protestsongs bekannt, die zu den Hymnen der tunesischen Revolution wurden. KahruMusiqa bedeutet elektronische Musik, wird aber im Arabischen nie als solche verwendet, um das Genre zu bezeichnen. Das Album ist eine Sammlung von Klangexperimenten, die entstanden, als sie in den 2000er Jahren erstmals Musikproduktionssoftware in die Hände bekam. Die Stücke basieren auf Gedichten in klassischem Arabisch oder tunesischem Dialekt, die Badiâa selbst oder von ihr bewunderte Dichterinnen wie die palästinensischen Autorinnen Fadwa Tuqan oder Salma Al Jayusi oder den tunesischen Dichter Noureddine Werghi verfasst hat. Die meisten der Gesangsstücke sind Improvisationen, die mit einem Computermikrofon aufgenommen wurden. Eine Bearbeitung des klassischen türkischen Volkslieds Muhabbat ist fast eine moderne harmonische Neufassung, bei der nur klassische Gitarre, Gesang und Delays verwendet werden. Die Themen von KahruMusiqa entsprechen dem ideologischen Weg von Badiâa Bouhrizi. In dem Lied Transrimel ist sie eine queere Frau im sich bewegenden Sand von Tunesien. Sie hinterfragt auch den politischen Vertrag, der 1948 zu Balfour und der Vertreibung von Millionen von Palästinensern führte, und beschreibt in Fil Madinatil harima ("In The Old City") eine Reise zwischen London und Nablus. Dieses elektronische Schlafzimmer-Album im Lo-Fi-Stil enthält auch mehrere Songs, die wie Ila Selma zu Klassikern des arabischen Underground-Milieus geworden sind, und ist die erste Platte, die Badiâa Bouhrizi überhaupt zu veröffentlichen bereit war.

NOW Music is proud to present the newest addition to the ‘Yearbook’ series: NOW – YEARBOOK 1982. 3 LPs of 44 defining tracks that ruled the charts in 1982.
Featuring number 1s, including ‘Eye Of The Tiger’ (Survivor), ‘Ebony And Ivory’ (Paul McCartney), ‘Town Called Malice’ (The Jam), and 1982’s biggest seller ‘Come On Eileen’ from Dexys Midnight Runners.
1982 saw the first huge hits from a wealth of new artists including Culture Club, Wham! and Tears For Fears, as well as an incredible line-up from artists who had established their chart presence in the prior 18 months and would produce some of the greatest tracks of the decade; Duran Duran, Spandau Ballet, ABC, Haircut 100, Soft Cell, The Human League, and a newly solo Adam Ant.
‘Fame’ was the TV phenomenon of the year, and Irene Cara’s theme from the original 1980 film enjoyed massive success.
As ABBA released their last singles for nearly 40 years, pure-pop from Bucks Fizz, Blondie, and Madness is celebrated alongside synth-pop gems from New Order, Simple Minds, Visage and Japan.
Leading artists from the punk scene enjoyed continued and renewed success, including The Stranglers, The Clash and Pretenders, whilst Foreigner, Meat Loaf with Cher, and Steve Miller Band provided radio-favourite rock and power ballads.
1982 saw a huge chart presence for dance music – from the hi-NRG of Boys Town Gang, to the electro-infused beats of Malcolm McLaren, and Rockers Revenge, the 1980’s disco of Shalamar, alongside soul classics from Marvin Gaye and Donna Summer… plus stellar ballads from Elton John, Lionel Richie, and Roxy Music.

The Leeds jazz scene is the gift that keeps on giving. From the dub-leaning ambience of Submotion Orchestra through to the afro-jazz fusion of Nubiyan Twist and TC & The Groove Family, a multi-generational lineage has emerged. Adding yet another page to the eclectic story of jazz from the city, emerging punk-jazz upstarts Plantfood announce the imminent arrival of their debut album ‘Carnivores’ on Friday 4th October via Bridge The Gap.

Consisting of JJ Petrie (percussion), Ruben Maric (keyboards), Joe van der Meulen (tenor saxophone), Woolley (baritone saxophone), Finn Hamilton (drums) and Woody Hayden (bass), Plantfood began in the throes of lockdown, during which all the members lived together. The group spent day after day sharing their eclectic music tastes, ranging from the electronic punk of The Prodigy and art-rock of Black Country New Road, through to the jazz dance of Steam Down and The Comet Is Coming. Taking these influences, they crafted their own sound, but without live shows, their only audience was the plants in their rehearsal room:

“We called the band Plantfood because we were writing and rehearsing in one of our bedrooms which was full of house plants. The plants kind of became our only audience, so it was like the music was food for the plants.”

The band’s debut album ‘Carnivores’, plays on this theme, referring to the plants as carnivores for consuming the bands music, whilst also reflecting the apocalyptic palette of sounds and chaos found within the record. However, mirroring the dynamism of a Plantfood live show, the album is anything but one-dimensional. The group expertly balance moments of serenity and vulnerability with cataclysmic urgency, all brought together under the guidance of producer David Haynes (TC & The Groove Family, Nubiyan Twist). The group share:

“The album’s moments of vulnerability and hope are intended as the depiction of a return-to- earth theme (circle of life, growth and decay), reflecting that the cycle of nature is not simply destructive.”

The project’s lead single ‘Y.U.S.’ drew praise from tastemakers including Jamz Supernova on BBC Radio 6, with the track featuring the talents of UK-Palestinian MC Yung Yusuf, a serial collaborator who also appears on album closer ‘Monstera’. Both tracks channel Plantfood’s explosive live energy into a blend of afro-latin rhythms and broken grooves, with the distinctive blend of tenor and baritone saxophone weaving in and out of grime-leaning, poetic exchanges with Yusuf.

Elsewhere, the second single from the project ‘Birdgang Pt. II’ is a fresh take on the band’s contemporary jazz sound, blending jazz, Balkan folk and Moroccan rhythms with a punk edge. The album’s title track resets the balance, soothing the soul through a swirling approach to spiritual jazz that wouldn’t be amiss amongst the Gondwana Records catalogue.

The sea has long been central to Japanese culture, symbolizing both sustenance and spiritual depth. Charles A.D.'s Deep Diver draws inspiration from this, channeling the ancient traditions of diving and fishing into his music. Historically, the sea has influenced everything from Shinto rituals to the livelihoods of coastal communities. In Deep Diver, this reverence flows through aquatic soundscapes, where rhythmic waves of 90s house and Detroit techno meet Japanese minimal production techniques, New Age and Pacific Jazz. Like the tides, the album ebbs and flows, creating a serene yet dynamic homage to the timeless connection between Japan and the sea.
The opening track 'Deep Diver' plunges into the depths, its abstract sound design capturing the sensation of deep-sea propulsion. Rhythmic bubbles pulse gently alongside slow-moving chords, creating an otherworldly atmosphere. The textures are lush yet restrained, setting a tranquil stage that pulls the listener into a submerged world. 'Underwater Ruins' builds on this aquatic theme, introducing rhythmic layers and bass-heavy notes reminiscent of mid-90s Japanese ambient techno. The smooth, melodic flow nods to pioneers like Mr.YT and Susumu Yokota, while subtly incorporating the Detroit techno influence through soulful, deep basslines.
The track feels like a fusion of ambient and techno, balancing serene tones with a rolling groove, emblematic of Japanese techno soul. As the album progresses into 'Bubble Ring', it becomes clear that Charles A.D. is a master of minimalism. The production is timeless, leaning
on analog techniques where echo-drenched chords and carefully layered soundscapes take on an addictive, hypnotic quality. The simplicity of the composition is deceptive, as each element carries weight, drawing the listener deeper into the rhythm and space between the notes.
'Merperson' is where organic rhythms truly come into play. Charles A.D. gently evolves the patterns, allowing each percussive hit to flow naturally into the next. Soothing melodies emerge from within the track’s structure, eventually reaching an emotional peak without ever feeling forced. The organic nature of the arrangement creates an effortless progression that feels deeply connected to the natural movement of water.Starting the second half with 'Deep Exploration', the theme of underwater excursions becomes even more pronounced. Light, steady drumming anchors the track, allowing the melodic layers
to develop gradually. It unfolds with a calm, measured pace, before ending softly, almost as if the sounds are drifting off into the oceanic depths. 'Diffuse Reflection' stands out as the most dub house-influenced on the album, with rolling rhythms and hypnotic elements reminiscent of Maurizio's deep, pulsing sound. Yet here, the production feels submerged, with aquatic effects swirling around the rhythmic core, blending dub house with a fluid, oceanic touch. 'Traitors' delves even deeper into dub-inspired territory. Deep, resonant bass hits combine with wooden drums, while static-like sounds evoke the image of a radio tuning through static to find clarity.
Chords shimmer briefly before fading back into the liquid depths, evoking the ebb and flow of the tide. The final track on Deep Diver 'Levitation', is a fitting conclusion, as the rhythms merge and overlap like waves gently lapping the shore. The minimalistic arrangement allows each element to blend effortlessly into the next, creating a sense of unity and closure. The sounds move with the gentle grace of water, ending the album in a way that feels both complete and
open-ended, like the infinite motion of the sea.

Insanely good almost completely unreleased Jazz funk LP from Roland Haynes Jr. (They released just a single 45 included here from the tapes). Think undiscovered James Mason, and you'll be half way there, even by our high standards, this LP is HUGE.

Until now, that 1983 single has been the sole material trace of both band and artist. But like many dedicated musicians who follow their own path outside of the music industry, Haynes understood his musical worth, and the quality of his band. He had documented his work at key moments, laying down carefully worked out studio sessions and recording packed-out live gigs. The recordings that we present here are drawn from Haynes' personal archive of studio recordings that were for the most part unreleased.

Was haben Motörhead, Refused, Rage against the Machine, AC/DC und Green Day gemeinsam? Es mag vielleicht verwundern, aber sie haben allesamt Songs mit Texten, die ziemlich gut im Kontext eines Widerstands gegen eine Epoche funktionieren, die immer mehr durch herzlosen Nationalismus, Rassismus, Faschismus und Egoismus gekennzeichnet ist. Das Leben im Europa des Jahres 2024 kann einem schon den Rest geben: In immer mehr Ländern wühlen Politiker*innen den Dreck auf, der schon längst hätte abgeschafft werden sollen - oder der zumindest kollektiv verachtet gehört. Doch eines muss man sich unbedingt ins Gedächtnis rufen: just because you got the power, heißt nicht, dass man recht hat. Tagtäglich wird einem heute eine neue dumme Idee um die Ohren gehauen. Meistens geht es darum, diejenigen nach unten zu treten, die eh schon am Boden liegen. Für Otto Normalverbraucher, der sich von der Gesellschaft betrogen fühlt, ist das reines TNT. Das Gefühl ist bisweilen nachvollziehbar, doch bitte wann sind die Verbreitung von Angst, das Bauen von Mauern und die Zerstörung von Bildungssystemen zur Lösung für Alles geworden? Seit wann ist ein menschliches Wesen aufgrund seiner Ethnie, seines Geschlechts, seiner sexuellen Orientierung oder seines Glaubens weniger wert? Unsere Antwort ist kurz und knapp: Wann immer irgendwer versucht, uns hier auf Linie zu bringen, entgegnen wir: fuck you, we won"t do what you tell us. Was also tun? Sind wir die einzigen, die sich in einer Welt, die sich spiralförmig in den Abgrund dreht, wie basket cases, also absolut verloren fühlen? Hoffentlich nicht. Und wenn wir eines gelernt haben, dann, dass im Produzieren, Spielen und Hören von Musik ein mächtiger Zauber liegen kann. Es gibt weniges, was so wirksam für sozialen Kit sorgt. Deshalb sind wir unglaublich stolz und freuen uns extrem, wieder ein neues Hellsongs-Album zu präsentieren. Für uns ist es ein Lichtstrahl in äußerst dunklen Zeiten. Zusätzlich zu den Cover-Versionen gibt es auch vier eigene neue Songs, die mehr oder weniger dasselbe Themenfeld abdecken. Mehr Vocals, mehr Drums, allgemein mehr Instrumente, gespielt von einer noch größeren Gang mit noch mehr Wut im Bauch als je zuvor. Hoffentlich gefällt"s euch. Wir lieben es! Lassen wir diese abgründigen Zeiten hinter uns und gehen wir gemeinsam in eine gleichberechtigte Zukunft! Eins wissen wir jedenfalls genau: We would rather be dead, als es gar nicht erst versucht zu haben. See you on the road!

Was haben Motörhead, Refused, Rage against the Machine, AC/DC und Green Day gemeinsam? Es mag vielleicht verwundern, aber sie haben allesamt Songs mit Texten, die ziemlich gut im Kontext eines Widerstands gegen eine Epoche funktionieren, die immer mehr durch herzlosen Nationalismus, Rassismus, Faschismus und Egoismus gekennzeichnet ist. Das Leben im Europa des Jahres 2024 kann einem schon den Rest geben: In immer mehr Ländern wühlen Politiker*innen den Dreck auf, der schon längst hätte abgeschafft werden sollen - oder der zumindest kollektiv verachtet gehört. Doch eines muss man sich unbedingt ins Gedächtnis rufen: just because you got the power, heißt nicht, dass man recht hat. Tagtäglich wird einem heute eine neue dumme Idee um die Ohren gehauen. Meistens geht es darum, diejenigen nach unten zu treten, die eh schon am Boden liegen. Für Otto Normalverbraucher, der sich von der Gesellschaft betrogen fühlt, ist das reines TNT. Das Gefühl ist bisweilen nachvollziehbar, doch bitte wann sind die Verbreitung von Angst, das Bauen von Mauern und die Zerstörung von Bildungssystemen zur Lösung für Alles geworden? Seit wann ist ein menschliches Wesen aufgrund seiner Ethnie, seines Geschlechts, seiner sexuellen Orientierung oder seines Glaubens weniger wert? Unsere Antwort ist kurz und knapp: Wann immer irgendwer versucht, uns hier auf Linie zu bringen, entgegnen wir: fuck you, we won"t do what you tell us. Was also tun? Sind wir die einzigen, die sich in einer Welt, die sich spiralförmig in den Abgrund dreht, wie basket cases, also absolut verloren fühlen? Hoffentlich nicht. Und wenn wir eines gelernt haben, dann, dass im Produzieren, Spielen und Hören von Musik ein mächtiger Zauber liegen kann. Es gibt weniges, was so wirksam für sozialen Kit sorgt. Deshalb sind wir unglaublich stolz und freuen uns extrem, wieder ein neues Hellsongs-Album zu präsentieren. Für uns ist es ein Lichtstrahl in äußerst dunklen Zeiten. Zusätzlich zu den Cover-Versionen gibt es auch vier eigene neue Songs, die mehr oder weniger dasselbe Themenfeld abdecken. Mehr Vocals, mehr Drums, allgemein mehr Instrumente, gespielt von einer noch größeren Gang mit noch mehr Wut im Bauch als je zuvor. Hoffentlich gefällt"s euch. Wir lieben es! Lassen wir diese abgründigen Zeiten hinter uns und gehen wir gemeinsam in eine gleichberechtigte Zukunft! Eins wissen wir jedenfalls genau: We would rather be dead, als es gar nicht erst versucht zu haben. See you on the road!

Since first bonding over Slowdive at a Texas karaoke bar six years ago, musicians Uriel Avila and Jonathan Perez have grown trauma ray into Fort Worth's foremost flag bearer of crushing shoegaze. A five-piece rounded out by bassist Darren Baun, drummer Nicholas Bobotas, and guitarist Coleman Pruitt, the band's debut album, Chameleon, captures their evolving sound at an apex of majestic devastation. A fusion of downer hooks, gauzy melancholia, and bulldozer riffs, the album heaves and crashes across 50 minutes of stacked amplifier alchemy. Lyrically the songs trace similarly lofty and brooding terrain; Avila says "The theme is death. And a chameleon, like death, can shape-shift in and out our lives in different forms." Chameleon opens with "Ember," dreamy and distant, alternately anthemic and apocalyptic, defeated and deafening. Lead single "Bishop" perfectly encapsulates trauma ray's depth and dimension, ripping out of the gate with "the biggest, baddest, saddest wall of sound." Lyrics about being burnt at the stake and "tossed in the flame" float above a stop-start assault of precision distortion, eventually expanding into a lush, heavy, sorrowful end coda. "Spectre" is a mysterious, introspective dirge, envisioned as a "mellow, slowcore, Duster-thing," all feeling and heavy fuzz chords (with no lead guitar). Avila wrote it, "to be a hymnal" from the perspective of someone who won't let go - a ghost, an ex, a shadow self. Although the album is rich with subtleties, graceful lulls, and "breaths of air," the band's three guitar attack is its defining force, a power flexed to its peak on "Bardo." Perez's intentions were blunt: "I wanted to write a riff that was hard as fuck." The result is alternately mean and eerie, veering between noisy one string bends and surging headbang, mapping a middle ground between Unwound and early-Deftones. One of trauma ray's greatest gifts is their ability to make doomy, sledgehammer heaviness sound like an earworm, without production tricks or gimmicks: "Riff, verse, chorus, three guitar parts - that's all you need." This quality is particularly apparent on the title track, a churning slab of amplifier worship, swirling chords, and heavenly, defeated vocals about not belonging, shape-shifting, and death ("A twisted face / Void of attention / An empty space / In your reflection"). "U.S.D.D.O.S" closes the album, swaying across seven minutes of grey skied guitar and haunted voice, subtly thickening as it deepens. Feedback and shrapnel gradually begin raining down, like a satellite disintegrating in the atmosphere. Titled as an acronym after a poem by Chilean writer Roberto Bolaño that loosely translates to "a dream within a dream," the melody softens, smears, and then disappears, slowly swallowed by the gravity of eternal descent. Chameleon is a masterpiece of craft, balance, melody, lyricism, and gravity, flexing a fresh vision of loud-quiet-loud architectures and the vertigo depths of blasted harmonics. From Slowdive to Nothing, to Hum and beyond, the band absorb and expand on their influences into a rare and dedicated alchemy. trauma ray's cinematic tempest is a gathering storm only just taking flight.

Since first bonding over Slowdive at a Texas karaoke bar six years ago, musicians Uriel Avila and Jonathan Perez have grown trauma ray into Fort Worth's foremost flag bearer of crushing shoegaze. A five-piece rounded out by bassist Darren Baun, drummer Nicholas Bobotas, and guitarist Coleman Pruitt, the band's debut album, Chameleon, captures their evolving sound at an apex of majestic devastation. A fusion of downer hooks, gauzy melancholia, and bulldozer riffs, the album heaves and crashes across 50 minutes of stacked amplifier alchemy. Lyrically the songs trace similarly lofty and brooding terrain; Avila says "The theme is death. And a chameleon, like death, can shape-shift in and out our lives in different forms." Chameleon opens with "Ember," dreamy and distant, alternately anthemic and apocalyptic, defeated and deafening. Lead single "Bishop" perfectly encapsulates trauma ray's depth and dimension, ripping out of the gate with "the biggest, baddest, saddest wall of sound." Lyrics about being burnt at the stake and "tossed in the flame" float above a stop-start assault of precision distortion, eventually expanding into a lush, heavy, sorrowful end coda. "Spectre" is a mysterious, introspective dirge, envisioned as a "mellow, slowcore, Duster-thing," all feeling and heavy fuzz chords (with no lead guitar). Avila wrote it, "to be a hymnal" from the perspective of someone who won't let go - a ghost, an ex, a shadow self. Although the album is rich with subtleties, graceful lulls, and "breaths of air," the band's three guitar attack is its defining force, a power flexed to its peak on "Bardo." Perez's intentions were blunt: "I wanted to write a riff that was hard as fuck." The result is alternately mean and eerie, veering between noisy one string bends and surging headbang, mapping a middle ground between Unwound and early-Deftones. One of trauma ray's greatest gifts is their ability to make doomy, sledgehammer heaviness sound like an earworm, without production tricks or gimmicks: "Riff, verse, chorus, three guitar parts - that's all you need." This quality is particularly apparent on the title track, a churning slab of amplifier worship, swirling chords, and heavenly, defeated vocals about not belonging, shape-shifting, and death ("A twisted face / Void of attention / An empty space / In your reflection"). "U.S.D.D.O.S" closes the album, swaying across seven minutes of grey skied guitar and haunted voice, subtly thickening as it deepens. Feedback and shrapnel gradually begin raining down, like a satellite disintegrating in the atmosphere. Titled as an acronym after a poem by Chilean writer Roberto Bolaño that loosely translates to "a dream within a dream," the melody softens, smears, and then disappears, slowly swallowed by the gravity of eternal descent. Chameleon is a masterpiece of craft, balance, melody, lyricism, and gravity, flexing a fresh vision of loud-quiet-loud architectures and the vertigo depths of blasted harmonics. From Slowdive to Nothing, to Hum and beyond, the band absorb and expand on their influences into a rare and dedicated alchemy. trauma ray's cinematic tempest is a gathering storm only just taking flight.

Belgian saxophonist, composer, and producer Mattias De Craene (Nordmann, MDCIII) announces a new solo album, ‘A House Where I Dream,’ on VIERNULVIER Records. On his second album, he delivers a highly personal and healing journey, presented as an alternative soundtrack to the 1973 cult film ‘The Holy Mountain.’

The record will be released on October 11 on vinyl LP and through all digital platforms.

"The Holy Mountain" is a surreal Mexican film from 1973 directed, written, and produced by Alejandro Jodorowsky, who also stars in the film. The film holds a prominent place in avant-garde cinema and explores themes such as spirituality, mysticism, and the quest for enlightenment. It is in this vein that ‘A House Where I Dream’ is crafted.

“My mind and soul - and thus my music - come home to this motion picture” - Mattias De Craene

The album will be presented live with the film on October 16 at Videodroom during Film Fest Gent.

ABOUT THE ALBUM
With hypnotic tape loops, grainy textures, and mesmerizing saxophone, Mattias De Craene creates possible worlds that herald a spiritual transformation. From the Scottish Highlands and desolate mountains to the deepest recesses of the soul, this music has the power to create cinematic landscapes that transcend time and space. The sound of these 8 tracks is closely related to the minimalist compositions of Terry Riley, but the work of contemporary artists like KMRU or William Basinski is also drawn from the same material.

Above all, this album is a deeply personal journey and unintentionally serves as a metaphor for De Craene's ascent of his own mountain. For the Videodroom festival by Arts Center VIERNULVIER, the saxophonist began working on a new soundtrack for the film ‘The Holy Mountain’ in 2023, but his body and mind abruptly called him to a halt, forcing him to take a professional break. However, this project never left him, leading to an honest and raw quest to find himself as both a person and an artist, with Jodorowsky as a companion de route and music as an anchor. It initiated a long process of dismantling, searching, healing and back again. The album not only provides a sanctuary for dreaming to all who listen, but for its creator it also serves as both an outcry of despair and a source of comfort during challenging times.

All the tracks on 'A House Where I Dream' share an unfiltered grain of life, as one can almost feel the damp breath of the saxophone blowing.

The album opens with the three-part strong 'Transcention,' where the hypnotic interplay between soprano sax and lo-fi tape loops leads to higher realms of the mind and soul.
Alternating between deep frequencies and farout folk modalities, this mantra-like triptych acquires an alchemical character and ultimately transcends time and space.

In the ethereal 'Away,' one can peer into an abyss of resonance while a saturated tenor sax lends guidance in the spirit of Terry Riley's productions. 'You and Me' also bathes in a similar atmosphere, albeit in the vein of healing 90s ambient as granular sax tones converge with celestial chants. 'Gazing Upwards Towards The Sky,' offers different shades of blue as a slumbering tenor sax is juxtaposed to swift sax patterns. On 'A Stranger That Moved Me,' beauty lands in a soft and subtle manner, while the closing track 'Shepherd's Glow' drifts like a mountain wind flaring up at the darkest hour of the night.

The artwork is created by Gent-based artist Sam Timmerman, who portrays the world of 'A House Where I Dream' with playful repetition and mystique.

Der hebräische Surf-Grunger kehrt zurück! End of Teenage Charlie fängt Megiras Berliner Jahre mit den BetShe'an Valley Hillbillies ein, kurz vor seinem Tod. Eine Zeitreise, ein fünf Lieder langes Gitarren-Krimi-Album, das Dick Dale ebenso viel wie David Lynch verdankt. Diese erweiterte Ausgabe zum 10-jährigen Jubiläum enthält auch das 11-Song-Demo, auf dem Megiras vertraute Themen wie Drive-Inn Melancholie, Stranddecken-Bongos und dem Treiben in der Wüste in seinem Schlafzimmer erforscht werden. Lass ihn in dein Ohr flüstern.

Der hebräische Surf-Grunger kehrt zurück! End of Teenage Charlie fängt Megiras Berliner Jahre mit den BetShe'an Valley Hillbillies ein, kurz vor seinem Tod. Eine Zeitreise, ein fünf Lieder langes Gitarren-Krimi-Album, das Dick Dale ebenso viel wie David Lynch verdankt. Diese erweiterte Ausgabe zum 10-jährigen Jubiläum enthält auch das 11-Song-Demo, auf dem Megiras vertraute Themen wie Drive-Inn Melancholie, Stranddecken-Bongos und dem Treiben in der Wüste in seinem Schlafzimmer erforscht werden. Lass ihn in dein Ohr flüstern.

Label heads Decoder and Jay York return to Toca with their second release, a split EP titled "Distant". This new collection of tracks aims to resonate with home listeners and DJs alike, offering a profound journey that balances introspective depth with dancefloor functionality. "Distant" emerges from the spaces between - the physical and creative distances that have shaped the music crafted by the duo for this release. Despite the miles apart due to their intense touring schedules, they have harnessed their separation as a source of inspiration,
resulting in an EP that reflects the nature of their circumstances. While each track has its own unique theme, the tracks share a common motif with minimalistic yet emotive layers of sound that invite listeners to delve into more deeper and introspective ideas. Each piece within
the EP exemplifies the artists' ability to create a sonic bridge that serves as an auditory journal of their experiences.

Love Is A Flame In The Dark is the debut album by experimental songwriter Karl D’Silva. A raw labour of love, a towering spire of twisted steel, tenderness and becoming, it’s a body of songs that belies the virtuoso talents of an artist whose reputation has been built on collaborating with various avant garde underground luminaries. Self-recorded at home in Rotherham and pulsing with the conviction of a true believer, these songs burst out of their self-consciousness to meet life head on, bristling with energy, 10 glimpses of the human spirit in the darkness.
Recorded throughout 2021 - 2023 and mixed in Leeds with engineer Ross Halden, D’Silva has constructed a Pop language for himself. Mutated songs that owe a small debt to the post-Industrial music of Cabaret Voltaire, Nine Inch Nails and Coil, they’re nonetheless powered by a vigorous tenderness, earnestness and D’Silva’s knack for melody. Each song is meticulously sound-designed, using synthesised sounds created from scratch married with D’Silva’s virtuoso playing on saxophone and guitar. The songs on Love Is A Flame In The Dark are unabashed, earnest love letters to living, requiems for a world fading away and small gestures of solidarity in the face of entropy.
Until now, D’Silva’s fingerprints could be found on live dates with Thurston Moore, Oren Ambarchi, Hardcore pioneers Siege and Rian Treanor as well as recordings by previous groups Trumpets Of Death and Drunk In Hell. Primarily associated with the alto saxophone in his improvisation work, Love Is A Flame In The Dark features a dizzying array of instrumentation, all played by D’Silva. D’Silva’s current membership of the group Vanishing may be a good touchstone for the dense, sonically thrilling world-building on the album but the most
striking instrument, perhaps, is D’Silva’s voice. With a soulful, rasping timbre resulting from prolonged intubation as a new-born, his vocal is both fearless and tender. On the soaring, electronic body mover Wild Kiss, thundering percussion is in service to Karl’s voice full of desire, arching up into a flayed falsetto. It’s a trick repeated on Flowers Start To Cry, where it’s deployed against the backdrop of layers of ripping alto and thudding drum programming that recall Nine Inch Nails’ visceral production, if they were covering a Prince hit. These songs capture the essence of 2024’s Karl D’Silva music; pure physicality
breaking down to reveal a shining, compassionate vulnerability.
The full breadth of Karl D’Silva’s instrumental prowess is in evidence from the off. On The Outside imagines blooming out of personal apocalypse with a soundscape of synth, saxophone worthy of any late 60s Free Jazz blower and crushing sound design. Entropy is planet-sized synth pop, Nowhere Left To Run uses midi-string orchestration to tell a story of light emerging from the dark. It’s a theme picked up
throughout the album: The Butcher is a political parable, the narrator holding power to account with grotesque, brutal imagery. It’s on a track
like Real Life that the true message emerges, however. D’Silva is peering through the layers of artifice, struggle and the fog of daily
living to find a life full of energy, connection and light. Each song here is a route into this light, out of the darkness.

Die aus New York, New Jersey und Pennsylvania im Nordosten der USA stammenden Kings Never Die bewegen sich auf dem schmalen Grat zwischen positiven, aufbauenden Botschaften und todernsten Themen. Eine musikalische und textliche Mischung aus Hardcore, Punk, Metal mit Chat- oder Mitsinggesang. In den Worten der Band: "Wir lieben es, zusammen Musik zu machen, und das ist es, was dabei herauskommt". Die Band besteht aus den Mitgliedern Dylan Gadino (Gesang), Dan Nastasi (Gitarre/Gesang), Danny Schuler (Schlagzeug), Larry Nieroda (Gitarre) und Evan Ivkovich (Bass).

Erleben Sie die emotionalen Höhen und Tiefen des finalen Films der "Rebuild of Evangelion"-Reihe neu mit Shiro SAGISU's Music from SHIN EVANGELION. Diese exklusive Vinyl-Edition lässt die epische Reise von Shinji, Asuka und Rei in EVANGELION: 3.0+1.0 auf musikalische Weise wieder aufleben und verbindet Sie erneut mit den unvergesslichen Momenten der letzten Schlacht.Das Set besteht aus drei 140g schweren Schallplatten, die in schwarzem Vinyl gepresst wurden. Das hochwertige Trifold-Cover ist nicht nur ein Hingucker, sondern enthält auch persönliche Anmerkungen des Komponisten Shiro SAGISU, die einen Einblick in die Entstehung und Bedeutung der Musik geben. Mit dieser Vinyl-Edition holen Sie sich ein Stück der außergewöhnlichen Welt von Evangelion nach Hause und können die musikalische Untermalung des Films in bester Klangqualität genießen.Ob als Sammlerstück oder um die Atmosphäre des Films erneut zu erleben - diese Vinyl-Ausgabe ist für jeden Evangelion-Fan eine besondere Bereicherung.

John Williams' Home Alone soundtrack is a heartwarming classic that perfectly complements the holiday season. Known for his work on Star Wars, E.T.and Harry Potter, Williams brings the same orchestral magic to this beloved Christmas film. The score includes memorable tracks like 'Somewhere in My Memory,' a recurring theme throughout the film, and 'Star of Bethlehem,' which captures the festive spirit with choral and orchestral elegance. The standout track, 'Setting the Trap,' diverges from Williams' usual orchestral sound, incorporating electronics and percussion to enhance Kevin's creative showdown with the burglars. Alongside traditional Christmas carols like 'O Holy Night' and 'Carol of the Bells,' the soundtrack blends nostalgia with whimsy. Though the album repeats familiar motifs, its charm makes it a refreshing alternative to typical holiday music. The Home Alone soundtrack is available in a limited edition red and gold vinyl 2xLP, making it an essential for any festive playlist. Whether it's playing while decorating the tree or enjoying Christmas cookies, this release brings the holiday spirit alive.

Neue limitierte Pink-in-Green/Colour-in-Colour Vinylauflage von "Sweet Tooth" (2022), dem dritten Album der kalifornischen Emo-Band Mom Jeans., aufgenommen in den Barber Shop Studios in New Jersey mit Produzent Brett Romnes (The Front Bottoms, Oso Oso, Dogleg). Die Band spricht von einem echten, umfassenden Studioerlebnis, das sie befähigte, ohne jegliche Abstriche ein bisher unerreichtes Maß an Feinschliff zu erreichen. Tyler Povanda (Save Face) und Kory Gregory (Prince Daddy & The Hyena) steuerten Vocals bei.

Limitiert auf 300 Exemplare. THE WORLD IS YOURS ist die Debüt-EP der Hardcoreband SYFF. Als Tape war diese EP innerhalb von kurzer Zeit ausverkauft und wahrscheinlich wird es mit dieser 7" in kleiner Auflage genauso gehen. Die Band hat die Songs der EP komplett in Eigenregie produziert, aufgenommen, gemixt und gemastert. Hört selbst, was dabei raus gekommen ist. Inhaltlich geht es auf The World Is Yours um die Themen Krieg, Gewalt, Terror, Weltschmerz, sowie das Gefühl der Ohnmacht gegenüber einer Welt, in der derjenige regiert, der die meisten Bomben hat. Das Cover ist eine bildliche Repräsentation dieser Ohnmacht. Die kanalisierte Wut darüber wird rastlos auf 5 Songs aufgeteilt, die insgesamt nur 8 Minuten dauern. Die dazugehörige Musik ist laut und der Gesang zeigt zwischen dem fortwährenden Geschrei portionierte Melodie- und Sprecheinlagen. Die Songs gehen nahtlos ineinander über und lassen den Hörer*innen keine Zeit durchzuatmen. Ein außergewöhnliches Debüt.

"In Murmuration is the ninth album by the Von Hertzen Brothers, which will be released on October 25, 2024. The album is
a blend of progressive rock and melodic hooks, and features a variety of musical styles including stadium rock anthems,
art-rock, and power-pop. The album's themes include resilience, personal growth, and the global political landscape"

Das japanische No ist die älteste lebendige Theaterform. Themen wie Schuld, Liebe und Erlösung werden in Text, Tanz und Musik verhandelt. Eric Schaefer ist dem Land Japan und der japanischen Kultur schon seit vielen Jahren verbunden. So begann er, inspiriert durch seine Besuche des No-Theaters, während eines dreimonatigen Aufenthalts und Unterrichts bei Prof. Takanori Fujita (Kyoto City University of Arts) den Liedzyklus HAYASHI zu komponieren. Ein Begriff, der das im No agierende Musikensemble benennt, der aber auch einen Hain beschreiben kann. Die Erstaufführung von HAYASHI fand beim Jazzfest in der Oper Leipzig 2023 statt - gespielt vom Eric Schaefer Ensemble und gemeinsam mit den japanischen Künstler*innen Ichi-Go (Tanz) und Acci Baba (Videokunst). Nun liegt die Studioproduktion von HAYASHI vor. Auf Vinyl und in einer limitierten Auflage. Mit einem Coverbild der in Kyoto lebenden Kalligraphin Chizu Ikura. Die Musik des No hat sich aus einer heterogenen Vielzahl volkstümlicher und religiöser Spielarten (Matsuris, buddhistische Rituale) entwickelt und besitzt eine kompositorische Struktur, die den Ausführenden einerseits exakte Vorgaben macht, aber andererseits selbstbestimmte Räume und Unschärfen besitzt, die sich zu Improvisationen öffnen. Die Komposition HAYASHI von Eric Schaefer nimmt diesen Modus Operandi des Musizierens im No-Theater auf. Durch die Zusammenarbeit von klassisch gebildeten und improvisierenden Musizierenden wird eben dieses fluide Durchwirken von festgelegten und frei zu interpretierenden Kompositionsteilen ermöglicht. Es gibt hier nur eine Partitur für alle, eine semantische Ebene, auf der sich alle bewegen. "Letztlich", so Eric Schaefer, "gehen wir mit dem Ensemble HAYASHI der Frage nach, was uns diese alte Kunstform des No heute ästhetisch sagen kann, wie wir mit Freiheit und Gebundenheit in der Musik umgehen." Dies geschieht im Geiste Zeamis, dem Gründer des No-Theaters, der vor 600 Jahren schrieb: "Das Alte befragen, das Neue begreifen".

"The Night The Zombies Came is Pixies’ tenth album, if you count their classic 1987 4AD mini LP Come On Pilgrim, and first new music since 2022’s acclaimed Doggerel LP. 13 new songs that find Pixies looking ahead to the most cinematic record of their career. Songwriter, vocalist and guitarist Black Francis explains: “Fragments that are related and juxtaposed with other fragments in other songs. And in a collection of songs in a so-called LP, you end up making a kind of movie.” Druidism, apocalyptic shopping malls, mediaeval themed restaurants, 12th century poetic form, surf rock, gargoyles, bog people, and the distinctive dry drum sound of 1970s era Fleetwood Mac are just some of the disparate wonders that inform the new songs. For the new album recording sessions the band returned to work with producer Tom Dalgety, who drummer David Lovering refers to as “a fifth Pixie” after producing 2016’s Head Carrier, 2019’s Beneath the Eyrie and 2022’s Doggerel. Early on in the recording process at Guilford Sound studio in Vermont, the band noticed the new songs were dividing into two camps: what they came to call the “Dust Bowl Songs” - country-tinged, ballad-esque numbers such as ‘Primrose’ and ‘Mercy Me’, and on the other side, the album’s furious punk numbers such as ‘You’re So Impatient’ and ‘Oyster Beds’. Only ‘Jane (The Night the Zombies Came)’ keeps its feet in both camps — reminiscent of early 60s Phil Spector, the band hitting the sweet spot between mushy and abrasive, it’s a track that Black Francis allegedly likened to being chased by a swarm of bees.
The Night The Zombies Came sessions also saw Pixies welcoming new bass player Emma Richardson (Band Of Skulls) to the line up; the first British band member to join the group. There’s also an expanded role for guitarist Joey Santiago. After contributing his first-ever Pixies lyrics on Doggerel, for the new record Santiago wrote the words to ‘Hypnotised’ by completing a complex lyrical riddle of sorts, known as a sestina.
The Night The Zombies Came is released via BMG on CD, black vinyl"

LIMITED POSTER EDITION (inclusive stickers)

With 'The Electro Guilde III EP' Zodiak Commune Records once again presents a selection of well-known and label-recurring electro-acid producers who take you on their various adventurous musical journeys.

'Collateral Funk' is a one shot live recording funky acid Electro track by Acidulant and inspired by the likes of Dynamix II

'We Will Survive' by Dima Gastroler is a fantasy about robots fighting for their rights in the future world of global robotisation. Dynamic electro and psychedelic pads make it sound like that battle. We will survive!

Step into the world of pozek with 'EPT', a 128 BPM electro-acid tune that takes inspiration from 80s toys like Speak & Spell and classic old-school electro. The track weaves quirky, retro acid lines with driving electro beats, creating a perfect fusion of nostalgia and futuristic energy.

When johnfaustus start an electro track for Zodiak commune Records, he always have in mind the journey of a spaceship to the edge of a dark galaxy. No exception with 'Oberon', syncopated rhythms, abrasive basslines and a dark spacy theme

Thirty years after it was released on CD and cassette, Fuemana’s cult classic New Urban Polynesian album is finally available on vinyl. Born from the blood, sweat and tears of the late great Polynesian renaissance man Phil Fuemana and his family and friends, Fuemana’s music transports the listener back to the autumn and winter days of 1994 in the antipodes, where they turned love, loss, grief and acceptance into the finest R&B/street soul album ever recorded in Aotearoa New Zealand.

Fuemana spent several late nights tracking one-take sessions at The Lab Recording Studio with engineers Simon Taylor, Chris Sinclair and Mark Tierney. From there, New Urban Polynesian came together quickly. Across the album, Phil showed off his prodigious skills as a multi-instrumentalist and producer, playing most of the smooth, sophisticated, and heartfelt music himself. In the studio, he shared the lead with Christina and Matty J, supported by a cast of backing vocalists, musicians and guest vocalists, including a young Carly Binding.

From the lush openings of their soulful Roberta Flack, Donny Hathaway, and Stevie Wonder covers ‘Closer’ and ‘Rocket Love’ to the misty new jack swing serenade of his original ‘Seasons,’ Phil’s goal was to craft material that would let the music industry know the Fuemanas had arrived while also inspiring the next generation.

In 1995, the Fuemana family’s youngest sibling, Pauly, borrowed the initials from Ōtara Millionaires Club and began performing as OMC. Not long after, he changed everything for New Zealand music by recording the feelgood guitar-laced Polynesian pop global mega-hit ‘How Bizarre’ with producer Alan Jansson.

Consumed by a desire to do more musically, Phil established Urban Pacifika Records, where he launched the careers of a new wave of Pacific hip-hop and R&B talent, including Lost Tribe, Moizna, AKA Brown, and Sani Sagala, aka Dei Hamo.

In 2005, Phil tragically passed away from a heart attack aged 41. Five years later, Pauly, equally tragically, joined him after an extended battle with a rare neurological disorder, leaving Tony and Chirstina to grieve and make sense of their family’s extraordinary story.

When New Urban Polynesian first hit record store shelves in 1994, the Fuemanas dedicated the album to their father, Takiula Fuemana. Three decades later, it has expanded in meaning to become a remembrance of their youngest brother Pauly and a celebration of the life and times of their big-hearted big brother, Mr. Fuemana, Mr. Phil Fuemana.

Words by Martyn Pepperell in conversation with Tony & Christina Fuemana.

Gazebo Records feel honoured for the opportunity to share this important album for our inaugural release, now available for the first time on vinyl with remastering by Mikey Young.

All proceeds from this record flowing to the Fuemana family.

An example of globalisation's ultra exoticisms: a Guinean hit that changed the perception of African music in European dance charts (selling over a million copies), covered by a Hongkongese pop star two years later, the perfect recipe for ensuring heavy frothing amongst diggers and collectors worldwide. Besides its aesthetic novelty, it's also highly effective on just about any dancefloor, a theme that sounds so familiar to many but then with the added unexpected surprised factor of the lyrics being sung in a female voice and in Cantonese -- a hard moment to forget on a well helmed club floor. Another generosity of this release amongst the other 3 tracks is a display of heavy Cantonese ballad prowess in the Adult Contemporary landscape, especially with a cover of Gamble & Huff's "When Will I See You Again", huge on the couples' slow dance scene, shameless drama.

This brilliant, seminal debut EP from Australia's best stoner band is now being reissued on vinyl as part of Ripple Music's excellent series 'Beneath The Desert Floor'. Originally released in 1999 it now comes with 5 bonus songs.

For fans of Michael Kiwunaka, Jon Batiste, Leon Bridges, Gregory Porter, and Mg.Kee. Full tour in the works for 2025 in North America and Europe. Collaborated with a wide range of artists including Jack White, Dwele, Slum Village, Black Milk, Foreign Exchange, 14KT, and Daru Jones. Former musical director for tours for Black Milk and Slum Village, throughout North America, Europe, Australia, and Japan. “From the Throne Room” is Abernathy’s fourth official LP, following the trilogy of “Monologue,” “Dialogue,” and “Epilogue,” released between 2016 and 2019. Aaron Abernathy has been firmly established in the modern soul scene for almost two decades, and he continues to elevate his craft as a songwriter and performer. His latest LP “From the Throne Room” once again demonstrates a rare ability to seamlessly shift between lyrical themes and musical styles, and it is his most inspired and uplifting album to date.
The turmoil caused by the pandemic was especially hard on touring musicians, and as a veteran musical director and bandleader who has regularly traversed the globe, Abernathy was certainly affected. Instead of wallowing in grief and darkness, he tapped into his gifts as a songwriter and lyricist to manifest light and optimism in his own life. As expressed on the opening track “New Relationship,” this “new way of seeing” kicked open some new creative doors for him as a musician and producer, with a wide variety of influences. The four-to-the-floor push of “A Reason to Smile” brings to mind 80’s post-disco boogie, “Show Off” shows off a modern rock edge, and the booming, driving energy in tunes like “Hope Song” and “Joy” is reminiscent of the electric 60’s soul of Wilson Pickett and Otis Redding. With its catchy hooks, powerful lead vocals, and slick self-produced arrangements, “From the Throne Room” proves that Aaron Abernathy remains one of the most talented singer/songwriters of his generation in contemporary soul music.

Bobbi Lu is the moniker of Lucy Ryan, born and raised in Oxfordshire in the UK, now living in Bruges after following love a few years ago. As a DIY bedroom producer, she’s released a handful of singles and is now ready with a debut album – ‘Arrow, Four’ – that will be out on 25 October. Drawing inspiration from acts like Radiohead, FKA Twigs, Jockstrap and Saya Grey, Bobbi Lu intertwines piano melodies with deep crunchy bass, electronica and samples, coming together in a dystopian and mysterious sound. As Ryan started gigging, she quickly attracted attention and went from supporting acts like The Haunted Youth and Sylvie Kreusch to playing her own headline shows and amazing festivals like The Great Escape (UK).

‘Arrow, Four’ is a collection of ten songs, written over the course of a few years, the process of each one completely different. “I guess the individual tracks have their own story, but in my head each story is just a symptom of a bigger theme, mostly inspired by the book Future Shock by Alvin Toffler. In it he talks about people’s ability to adapt having essentially a limit, and with growth accelerating could we be overloaded and experience a 'future shock'. And maybe that’s already happening, most notably in the form of mental health struggles.” “It made me think of how progression creates new challenges, an arrow going one way is pulled back by another in the opposite direction. I feel like it’s a topic more relevant than ever, especially with AI most recently. I think I use this topic to fuel my lyrics mainly as a way of forgiving myself and others, in those moments where we struggle and make mistakes, that we're all just doing our best in trying to keep up with a rapidly changing environment.” This is also reflected in the artwork by Maarten Derous. “It ties everything together. He came to me after listening to it and said something that came out for him was fragility, which at the time I completely did not think of. But he nailed it. It’s like, yes do it, be fragile and take it easy, it’s a pretty good answer to stuff being pulled in all directions.”

Limited LEMON Vinyl Edition

HOO - master builders of woozy dynamics, songs unfurl with a mysterious, hooky logic all their own to create deeply emotive, chaotic, cinematic and - surprisingly, with this album ‘III’ - indie pop tunes! Songs clocking in just over 2 or 3 minutes, driven by heavy grunge guitars & potty Moog magic, opening out at times during the breathtaking prog Ov Violence/ Evil Weeks and the epic gothy final track Method Papers. ‘III’ has been 10 years in the making and features friends Simon Rowe (Chapterhouse, Mojave 3), Ian McCutcheon (Mojave 3, Slowdive), Paul Blewett (Moon Attendant), Lee Lavender & long-time collaborator & award-winning folk artist Jackie Oates. The themes and feel of the songs meant they had to lay in wait in HOO’s church-like studio, patiently growing & spawning like a 70's Dr WHO monster. Newer songs like the almost indie disco Snake & Myself When I Am Real finally gave the album foundation. HOO songwriter Nick Holton explains “All my music, including stuff in the past with Coley Park & Neil Halstead (Slowdive), is made at home in my own studio ‘Oaki Room’, so they blend into one another and my broader life. This is why musicians like Paul Blewett, Ian McCutcheon and Simon Rowe are always in the band or on my records - because they are part of my life. I have always made music this way and intended to. Jackie’s beautiful lead on England Theme, a high for me, was a simple idea. A mirror, as is so much of what I write about, here pride and disappointment in your world. Politics, religion, conflict, human frailty & alien tentacles, the collapsing environment all feature heavily and inspire. Despite this, we aim to make these dark songs engaging & endearing, skipping about you at volume in a psychedelic fug.” “I cannot and will not explain what is going on, but ‘III’ definitely closes a door and feels the most complete work of my life” Holton concludes. ’III’ is playful, eccentric, explosive and shamelessly takes itself seriously. Finished and mastered by Heba Kadry (Beach House, Bjork, Slowdive). We hope you now enjoy HOO’s third album. “Highly recommended to those who dig cinematic dream pop & Krautrock.” Echoes & Dust “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo “Shoegaze guitars, space-folk synths, otherworldly drones & krautrock drums into soundscapes immersive, possibly hallucinogenic.” Uncut “Textural & cinematic guitar driven epic” Shindig “A place where you see shadows of ghosts and echoes of your imagination” HiFi World Highlights “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo feat ex-Slowdive & Coley Park

HOO - master builders of woozy dynamics, songs unfurl with a mysterious, hooky logic all their own to create deeply emotive, chaotic, cinematic and - surprisingly, with this album ‘III’ - indie pop tunes! Songs clocking in just over 2 or 3 minutes, driven by heavy grunge guitars & potty Moog magic, opening out at times during the breathtaking prog Ov Violence/ Evil Weeks and the epic gothy final track Method Papers. ‘III’ has been 10 years in the making and features friends Simon Rowe (Chapterhouse, Mojave 3), Ian McCutcheon (Mojave 3, Slowdive), Paul Blewett (Moon Attendant), Lee Lavender & long-time collaborator & award-winning folk artist Jackie Oates. The themes and feel of the songs meant they had to lay in wait in HOO’s church-like studio, patiently growing & spawning like a 70's Dr WHO monster. Newer songs like the almost indie disco Snake & Myself When I Am Real finally gave the album foundation. HOO songwriter Nick Holton explains “All my music, including stuff in the past with Coley Park & Neil Halstead (Slowdive), is made at home in my own studio ‘Oaki Room’, so they blend into one another and my broader life. This is why musicians like Paul Blewett, Ian McCutcheon and Simon Rowe are always in the band or on my records - because they are part of my life. I have always made music this way and intended to. Jackie’s beautiful lead on England Theme, a high for me, was a simple idea. A mirror, as is so much of what I write about, here pride and disappointment in your world. Politics, religion, conflict, human frailty & alien tentacles, the collapsing environment all feature heavily and inspire. Despite this, we aim to make these dark songs engaging & endearing, skipping about you at volume in a psychedelic fug.” “I cannot and will not explain what is going on, but ‘III’ definitely closes a door and feels the most complete work of my life” Holton concludes. ’III’ is playful, eccentric, explosive and shamelessly takes itself seriously. Finished and mastered by Heba Kadry (Beach House, Bjork, Slowdive). We hope you now enjoy HOO’s third album. “Highly recommended to those who dig cinematic dream pop & Krautrock.” Echoes & Dust “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo “Shoegaze guitars, space-folk synths, otherworldly drones & krautrock drums into soundscapes immersive, possibly hallucinogenic.” Uncut “Textural & cinematic guitar driven epic” Shindig “A place where you see shadows of ghosts and echoes of your imagination” HiFi World Highlights “50s sci-fi meets peak Reading shoegaze. It’s an ideal soundtrack for the new normal” Mojo feat ex-Slowdive & Coley Park

Re-issue of this hyper rare single from 1978 on Whirl (West Indies Records Limited). George Clinton's Parliament getting funked up in the Caribbean. TIP!

The Outfit was one of the funkiest bands ever coming from The Caribbean. They showed (together with other top bands from Barbados like The BRC or The Organization) the potential of Spouge music and the many creative possibilities that this genre can lead to.

This single is one of the finest examples of Spouge and Funk blended perfectly together in an explosive, ultra funky cover of the Parliament's "Dr. Funkenstein", titled for the occasion "Dr. Spougenstien". Despite being an extremely rare single, this song used to be quite popular in Barbados, to the point where most people on the Island used to think this was an original song. B side "Theme From Peter Gunn" serves up a punchy and groovy Cosmic disco tune on the very popular Theme from the Peter Gunn tv show.

This single is proposed to you as a first issue on the newly born Lava On Wax Records, started by Dj and Collector Matteo Fava, who have been to Barbados multiple times and works together with former Wirl label since 2020. The release has been possible thanks to help of GUTS from France, who worked since the start of this project to the end in close collaboration with Matteo. Here is what he has to say about this release: " Lava on Wax , It's putting love into old things to make them new with conscience and respect "

Ohm and Octal Industries debuted on this label to great acclaim back in 2022 and now they're back on Lempuyang with Northwest Passage, a first album-length collaboration. This double 12" continues with their themes of failed arctic explorations and mythological creatures and, after 12 previous outings together, might be their best work yet: the sounds are mature and powerful, bleak yet deep. Dubbed-out chords roll to infinite horizons, frozen tundras are detailed with wispy melodies and pulsing, supple techno both soothes the soul and gets the head nodding. This is more stylish, subversive and superbly executed electronic music.

"In the mood for love"
A bohemian atmosphere caught between Paris and Rio. Melodies and Harmonics that have a french taste and rhythms rooted in Brazil. Laura Fedele the time stopping voice.

"Take 4"
Up tempo track characterized by a soprano sax that swirls out melodies making you feel like you have travel back to the 70's. The jazzy guitar riffs opposed to flutes makes the picture complete; all weaved by S-tone inc. 's hand.

"Rendez-vous à minuit"
A Bossa Lounge motif with Wes Montgomery guitar riffs combined to scat voices all packed in relaxin' cruise formation.

"Vai Ser Bom"
Dedicated to Iemanjà, Brazilian sea god. A dreamy rhythmic atmosphere sweatened by the tender voice of Adi Souza and acoustic guitars inpired to Baden Powell.

"La Boca del Rio"
The acoustic bass distinguishes this up tempo track that creates great ambience. The acoustic piano duets the keyboards enriched by strings. The rhythms falling between house and bossa nova.

"Limbe"
A scent of India in a down tempo track, a bit psychedelic with sitars and tablas making the background for a French melody. Velvet voice of Laura Fedele gives the track that extra dimension.

"Memphis Freeway"
Funky track with a 70's taste starting with the flute that plays the theme with horns 'Temptations' style. The beat is a straight 4/4 kick with a groovy bass.

"Entre o Ceus e a Terra"
Like the dualism in the title, the track is divided between the tension of the spoken riff and the solarity of the melody both moved by a "bossy" up tempo base.

"Effetto Notte"
A cinematic feel for a soothing chill out theme on the keyboard alternating with dreamy orchestrations.

"New York Hip Hop revolutionaries Ced-Gee, Kool Keith, Moe Luv and T.R. Love, known as Ultramagnetic Mc’s dropped their seminal debut album Critical Beatdown in 198 Immediately grabbing the attention and pushing the boundaries of hip hop into new horizons, it was hailed as a masterpiece by the underground. Influential hip hop magazines The Source and Hip Hop Connection both listed Critical Beatdown in their Top 100 charts, naming it one of the best 100 hip hop albums ever. The 1986 single “Ego Trippin” is one of the first tracks to use the SP1200 drum machine (programmed by producer Ced-Gee), and the SP1200 would later become the golden standard for many hip hop producers. This expanded edition features not only the original album with the 15 tracks, but it also includes 6 bonus tracks: the original 12” versions of “Funky”, “Bait”, “A Chorus Line” featuring Tim Dog, “Mentally Mad” plus “Traveling at the Speed of Thought (Hip House Club Mix)” and “Ego Trippin (Bonus Beats)”. Don't miss out on the opportunity to catch them live as they are touring the globe again. Critical Beatdown (Expanded Edition) is available as a limited edition of 2000 individually numbered copies on green coloured vinyl. It also contains a 4-page booklet with interviews, rare photos and liner notes. "

Critical Beatdown by Ultramagnetic Mc's, released 23 February 2024, includes the following tracks: "Ego Trippin (Original 12” Version)", "Kool Keith Housing Things", "Feelin’ It", "Ain’t it Good to You" and more.

This version of Critical Beatdown comes as a 2xLP. This release comes with (a) Booklet & Insert(s).

The vinyl is pressed as a green disc. Another vinyl is pressed as a

Motyl is a brand new creative coming together from DYL and Moll+ and this new cassette Noc has been conceived as a soundtrack to go with a book of 'night' themed poetry and imagery. it's an immersive and evocative blend of ambience, field recordings and moody sound collages that range from serene and peaceful to much more ominous and dark.

Slow paced drums with offbeats softly phased with the guitar, misty takeoffs from the synthesizer: a hazy idyll is starting off on the road to the rocket festival (bun bang fai). Answering each other on the responsive mode of the lam soeng, Sothipong engages in a flirt but Oulay Vanh is not ready to trifle with just anybody.

As a stylistic variation of a popular Lao musical genre, the lam soeng was the source of several themes among which the “bang fai” - which is part of the Lao conciliatory festivities preceding the rainy season - remains one of the most renowned.

However, the producer and composer of these songs, Sothy, created an unusual arrangement: the instrumental introduction separates from the sang canon, the synthetic mix is stripped down of the traditional organology - everything here becomes unsettling for a listener familiar with the genre.

Everything comes with a reason: the record was edited in 1981 under the title Sothy Productions yet produced in France by the Parisian label Oxygène (famously known for its unforgettable first French punk compilation 125 grammes de 33 1/3 tours). Chansons Laotiennes still remains hard to classify.

And then who’s Sothy? Along with the unverifiable identity of the seemingly Laotian singers, skepticism gains ground concerning the man behind the pseudonym. Is he an escaped musician from one of the first Cambodian rock bands of the 1960s? A surviving producer from the 1980s Paris? Or a composer in transit in one of the many places of the Laotian diaspora? Sothy eludes any researches and disappears behind his numerous homonyms.

The second track is just as enigmatic: a beat box, a lightly reverberated voice as well as a guitar solo and a small synthesizer break, “Tuei” or “Tawai” offering (as the writing on the record suggests) makes way to dancing step and a truly joyful melody. Twisted and lively steps on a romantic background tune turn this second track into a genuine paslop - a program recommended by therapists to relieve muscular pains due to seated positions: you will unlock your pelvis with some synchronized Laotian choreographies.

For their first edits, Akuphone called on a young Parisian producer. Shelter, aka Alan Briand, mingles his own mixes and electro productions with a large variety of influences and styles: krautrock, disco, traditional music, psychedelic, synth pop, ambient, bossa nova, Japanese funk. He produces both original compositions and remix.

"Amid the great British bands that have inspired the theme of this year’s National Album Day, Stereophonics continue to prove themselves to be one of the greatest. Originally formed in Cwmaman, South Wales, in 1992, the group, now consisting of Kelly Jones (vocals, guitar), Adam Zindani (guitar) Richard Jones (bass), Jamie Morrison (drums) and touring member Tony Kirkham (keyboards), made their mark with the Words Gets Around (UK No.6) and Performance and Cocktails (UK No.1) albums, and continued their chart-topping run with their third release, 2001’s Just Enough Education to Perform. Remaining at the top of the UK charts for two weeks, the album sold 140,000 copies on its way to becoming the fourth biggest-selling album in the UK in 2001. Re-entering the charts several times over the next three years, it would be certified six-times platinum and crowned the 39th best-selling album of the decade. With more than 400,000 copies sold to date and streaming figures sailing past the 340 million mark, Just Enough Education to Perform makes a welcome return to vinyl for this year’s National Album Day, in an exclusive, limited-edition green pressing. Beloved by fans, the album featured three Top 10 singles, ‘Mr. Writer’ and ‘Have a Nice Day’ making for a timeless work that fuels Stereophonics’ continued appeal. Still releasing music today, the group have continued their chart-topping streak, with their latest album, 2022’s Oochya!, becoming their eighth UK No.1 album."

The 25th anniversary edition of Mariah Carey’s multi-platinum selling record, Rainbow has been pressed on rainbow vinyl and includes rare photos from the era. Rainbow is Mariah’s seventh studio album, with #1 hits, “Heartbreaker” (ft. Jay-Z), “Thank God I Found You” (ft. Joe & 98 Degrees), the globally successful cover of "Against All Odds" plus more fan favorites. This deluxe album also features several bonus tracks including, ‘Rainbow’s End,’ a brand-new recording.

The 25th anniversary edition of Mariah Carey’s multi-platinum selling record, Rainbow has been pressed on rainbow vinyl and includes rare photos from the era. Rainbow is Mariah’s seventh studio album, with #1 hits, “Heartbreaker” (ft. Jay-Z), “Thank God I Found You” (ft. Joe & 98 Degrees), the globally successful cover of "Against All Odds" plus more fan favorites. This deluxe album also features several bonus tracks including, ‘Rainbow’s End,’ a brand-new recording.

"This is the complete soundtrack album for Interstellar Sentinel, an action-packed bullet-hell shoot'em-up that takes you on a sci-fi fantasy journey through legions of monsters, demons, and cosmic mind-ripping entities. The game was created by a friend and colleague from the former Factor 5 USA studio and is an inspired love letter to some of the best side-scrolling games ever made, like Salamander/Life Force, Gradius, R-Type, Darius, Super Aleste, Einhander, Ikaruga, and more." - Chris Huelsbeck The soundtrack, featuring all new compositions, is heavily inspired by Chris' earlier works and successes, like Turrican, X-Out and Katakis and should be an aural feast for his fans.

For the next reissue in Mr Bongo’s Cuban Classics series, we look to Raúl Gómez’s entrancing 1977 Instrumental album. Presenting a unique blend of orchestral disco and jazz-funk, with Afro-Cuban flavours and soundtrack influences, it’s rich with drum breaks, energy and evolving compositions. A record that forever keeps you guessing, powered by an exemplary orchestra at the top of their game.

Cuban composer and singer Raúl Gómez is most known for featuring in the groups Mirtha Y Raul and Los Bucaneros alongside producing the Cuban classic Los Reyes 73 album, amongst a whole host of other incredible productions over the years. Released on Cuba’s state-owned label Areito, Instrumental sees Gómez not only as an instrumentalist and author, but also as a producer and arranger.

It's an album that deftly evades pigeonholing. Floating between instrumental mood music and library/soundtrack mastery, followed by explosions of cosmic-Latin funk, psych guitar workouts and compositions that reflect the orchestrated disco coming out of the US at the time, from greats such as Love Unlimited or MFSB. Lace that together with a healthy serving of Afro-Cuban magic to underpin the tracks and it’s a recipe for a record that captivates from start to finish.

Predominantly an instrumental album as the title suggests, the record showcases the Orquesta EGREM in full flow, soaring strings and vibrant horns at every turn. Highlights include 'Mi Samba Carnaval' with its breathtaking drum break, bubbling synths and sublime arrangements and the romantic film music impressions of ‘Tema De La Sierra', that have been a sampling source for many a producer. Elsewhere, ‘6 Son’ is a mind-melding psych guitar powerhouse, with 'Dacapo', written by Gilberto Peralta, offering up a slice of atmospheric and energetic Latin shuffle. One of only a handful of tracks where scat vocals compliment the orchestral tones, a Brazilian percussion theme marries with dancefloor sensibilities for a dose of feel-good, brilliance.

A wide-ranging, multi-dimensional release, Instrumental exhibits musicianship, composition and creativity at its finest and demonstrates another key example of the rich output of music that flowed from the island of Cuba post revolution.