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Limited metallic silver/white "disco ball" splatter vinyl available while supplies last.

Oakland's Naked Roommate have been slinking around the Bay Area lighting up stages, shaking asses & confounding listeners since 2018, when the group - originally just the duo of real-life partners Andy Jordan & Amber Sermeno (both formerly of The World) - self-released a cassette of demos (2018's "Naked Roommate"). Members Michael "Mig" Zamora & Alejandra Alcala (Blues Lawyer) joined soon after to augment the sound & live band with their proper full-length album "Do The Duvet", co-released in September of 2020 via UK label Upset! The Rhythm & Trouble In Mind. 2024 finds the lineup expanded even further to incorporate the horn section of Geoff Saba & Jeanne Oss on tenor & alto saxophones as well as percussion & marimba as the band readies their sophomore effort, the dizzyingly ecstatic "Pass The Loofah" Recorded by members Andy Jordan & Mig Zamora from 2021-2023 as time & restrictions allowed, "Pass The Loofah" retains the wild energy of their debut, but leans into the rhythmic throbs perpetuated by forbears like Kid Creole & The Coconuts, Lizzy Mercier Descloux & ESG; the signature sound of UK's On-U Sound & NYC's 99 Records, but with a decidedly West Coast irreverence & a knack for absurdist exposition. Make no mistake, this is music designed to make your body MOVE & Naked Roommate won't stop until they 've made sure every ass is shook. The band freely incorporates elements of the dancier side of post-punk (think A Certain Ratio or Liquid Liquid) as well as disco, funk, & house music. However, the group's uplifting melodicism belies a deeper subtext, understanding the importance of the sense of community of dance music & the culture surrounding it and leaning into a Neo-socialist lyrical context. Shit is fucked, & we get thru it by helping one another & acknowledging & addressing the failures of disaster Capitalism & tech-bro hegemony (a state the band is all-too familiar with, living in The Bay Area) Take the first single "Bus"; a four-on-the-floor banger & salutary paeon to the ups & downs of the people's transport that throbs & pulses with a late-night sashay (and a bridge that launches the tune into the stratosphere). Elsewhere, "Fight Flight "s funky horn stabs and Sermeno's slinky vocals swoon over Numan-esque synth squiggles that are fortified & funkified toward the dance floor. "Broken Whisper " edges into new territor y for the group, adding a Caribbean flavor a'la Kid Creole or The Specials that punctuates the persistent & synthetic beats underneath. Meanwhile instrumental interludes like "Ducky & Viv", "G-Y pt. 1" & "G-Y pt. 2" oscillate into zones of sci-fi meets soap opera soundtracks, sounding not unlike the electronic experiments of UK industrial pioneers Chris & Cosey. Album closer "I Can't Be Found" might be the album's secret weapon; It 's swooning synth melody & processed vocals recall early Daft Punk or MGMT by way of Derrick Carter & The Au Pairs. It 's a beautiful song; perfect for the late night (or early morning) car ride home from the club. "Pass The Loofah" is released worldwide on October 25th, 2024 via Trouble In Mind Records digitally via most DSPs & on black vinyl & limited "disco ball " silver vinyl.

Wie zwei Zeitlinien, die zusammenlaufen, kommen ELEPHANT TREE und LOWRIDER zusammen, um ihr gemeinsames Album ,The Long Forever" zu präsentieren, eine der am sehnlichsten erwarteten Split-Veröffentlichungen in der Geschichte des Heavy Rock.Nach zwei bahnbrechenden Veröffentlichungen im Jahr 2020 haben Elephant Tree und Lowrider die Gelegenheit ergriffen, neu zu definieren, wer sie sind und zu erklären, wohin ihre musikalische Reise mit dem gemeinsamen Album ,The Long Forever" als nächstes gehen wird. Mit The Long Forever befinden sich beide Bands an einem kritischen Punkt: Beide haben einen weitreichenden und wachsenden Einfluss, beide werden auf der Bühne und abseits davon verehrt, und beide bringen ihre erste richtige neue Veröffentlichung seit vier Jahren heraus, die mit großer Spannung erwartet wird.Diese Bands auf eine gemeinsame Platte zu bringen, wäre unabhängig von den Begleitumständen ein Ereignis, aber die Bedeutung dieses Albums ist noch größer. Der Titel des Albums stammt von dem Spitznamen für das mehrwöchige Koma, in dem sich Elephant Tree-Sänger/Gitarrist Jack Townley aus medizinischen Gründen nach einem beinahe tödlichen Fahrradunfall Anfang 2023 befand. Er träumte, ohne aufzuwachen, und verlor jegliches Zeitgefühl, während sein Geist versuchte, mit der Tortur fertig zu werden - diese lyrische Beschreibung deutet das Ausmaß von Jacks Erfahrung nur an.In dem darauf folgenden Jahr manifestierte sich eine musikalische Freiheit in den jeweiligen Ansätzen beider Bands: Elephant Tree wählten während Jacks allmählicher Rückkehr zum Spielen einen rohen, aufbauenden Ansatz, während Lowrider komplexer und ausdrucksstärker wurden, um Songs für das 2020 erschienene Album ,Refractions" zu entwickeln, das von allen Seiten bewundert wurde.,The Long Forever" ist das Vehikel, durch das sich die Bands begegnen, das die Erwartungen an sie untergräbt und übertrifft, mit einem traumatischen Nexus als Gravitationssingularität, um die die gesamte LP kreist und jede Note, die nach außen dringt, verbiegt und formt.Beharrlichkeit, Heilung und hartnäckige Leidenschaft haben The Long Forever zu einer Realität gemacht, und Fans von Elephant Tree und Lowrider werden sich über das überragende Ergebnis freuen! Like two timelines converging, ELEPHANT TREE and LOWRIDER come together to present the collaborative album "The Long Forever," easily one of the most eagerly awaited split releases in the history of heavy rock. In the wake of two landmark 2020 releases, Elephant Tree and Lowrider have seized the opportunity to redefine who they are and declare where their musical voyages will go next with the collaborative album The Long Forever. The Long Forever finds both bands at critical junctures: each has a broad and expanding influence, each is revered onstage and off, and each is delivering its first proper new release in four years to tremendous anticipation. Bringing these bands onto a shared collaborative platter would be an event regardless of the surrounding circumstances, but the significance of this album is even greater. The album's title comes from the nickname for the multi-week coma that Elephant Tree singer/guitarist Jack Townley was in for medical reasons after a near-fatal biking accident in early 2023. Dreaming without waking and losing all sense of time as his mind attempted to cope with the ordeal, that lyrical description only hints at the enormity of Jack's experience. The year or so that followed manifested a musical freedom in both bands' respective approaches, Elephant Tree choosing a raw, set-up-the-mics-and-go approach during Jack's gradual return to playing, while Lowrider grew more complex and expressive in building songs to follow up their massively adored 2020 album "Refractions." "The Long Forever" is the vehicle through which the bands meet, subverting and superseding the expectations on them, with a traumatic nexus as the gravitational singularity around which the entire LP orbits, bending and shaping every note that escapes forth. Perseverance, healing and stubbornness of passion made The Long Forever a reality, and fans of both Elephant Tree and Lowrider are certain to rejoice at the towering result!

Wie zwei Zeitlinien, die zusammenlaufen, kommen ELEPHANT TREE und LOWRIDER zusammen, um ihr gemeinsames Album ,The Long Forever" zu präsentieren, eine der am sehnlichsten erwarteten Split-Veröffentlichungen in der Geschichte des Heavy Rock.Nach zwei bahnbrechenden Veröffentlichungen im Jahr 2020 haben Elephant Tree und Lowrider die Gelegenheit ergriffen, neu zu definieren, wer sie sind und zu erklären, wohin ihre musikalische Reise mit dem gemeinsamen Album ,The Long Forever" als nächstes gehen wird. Mit The Long Forever befinden sich beide Bands an einem kritischen Punkt: Beide haben einen weitreichenden und wachsenden Einfluss, beide werden auf der Bühne und abseits davon verehrt, und beide bringen ihre erste richtige neue Veröffentlichung seit vier Jahren heraus, die mit großer Spannung erwartet wird.Diese Bands auf eine gemeinsame Platte zu bringen, wäre unabhängig von den Begleitumständen ein Ereignis, aber die Bedeutung dieses Albums ist noch größer. Der Titel des Albums stammt von dem Spitznamen für das mehrwöchige Koma, in dem sich Elephant Tree-Sänger/Gitarrist Jack Townley aus medizinischen Gründen nach einem beinahe tödlichen Fahrradunfall Anfang 2023 befand. Er träumte, ohne aufzuwachen, und verlor jegliches Zeitgefühl, während sein Geist versuchte, mit der Tortur fertig zu werden - diese lyrische Beschreibung deutet das Ausmaß von Jacks Erfahrung nur an.In dem darauf folgenden Jahr manifestierte sich eine musikalische Freiheit in den jeweiligen Ansätzen beider Bands: Elephant Tree wählten während Jacks allmählicher Rückkehr zum Spielen einen rohen, aufbauenden Ansatz, während Lowrider komplexer und ausdrucksstärker wurden, um Songs für das 2020 erschienene Album ,Refractions" zu entwickeln, das von allen Seiten bewundert wurde.,The Long Forever" ist das Vehikel, durch das sich die Bands begegnen, das die Erwartungen an sie untergräbt und übertrifft, mit einem traumatischen Nexus als Gravitationssingularität, um die die gesamte LP kreist und jede Note, die nach außen dringt, verbiegt und formt.Beharrlichkeit, Heilung und hartnäckige Leidenschaft haben The Long Forever zu einer Realität gemacht, und Fans von Elephant Tree und Lowrider werden sich über das überragende Ergebnis freuen! Like two timelines converging, ELEPHANT TREE and LOWRIDER come together to present the collaborative album "The Long Forever," easily one of the most eagerly awaited split releases in the history of heavy rock. In the wake of two landmark 2020 releases, Elephant Tree and Lowrider have seized the opportunity to redefine who they are and declare where their musical voyages will go next with the collaborative album The Long Forever. The Long Forever finds both bands at critical junctures: each has a broad and expanding influence, each is revered onstage and off, and each is delivering its first proper new release in four years to tremendous anticipation. Bringing these bands onto a shared collaborative platter would be an event regardless of the surrounding circumstances, but the significance of this album is even greater. The album's title comes from the nickname for the multi-week coma that Elephant Tree singer/guitarist Jack Townley was in for medical reasons after a near-fatal biking accident in early 2023. Dreaming without waking and losing all sense of time as his mind attempted to cope with the ordeal, that lyrical description only hints at the enormity of Jack's experience. The year or so that followed manifested a musical freedom in both bands' respective approaches, Elephant Tree choosing a raw, set-up-the-mics-and-go approach during Jack's gradual return to playing, while Lowrider grew more complex and expressive in building songs to follow up their massively adored 2020 album "Refractions." "The Long Forever" is the vehicle through which the bands meet, subverting and superseding the expectations on them, with a traumatic nexus as the gravitational singularity around which the entire LP orbits, bending and shaping every note that escapes forth. Perseverance, healing and stubbornness of passion made The Long Forever a reality, and fans of both Elephant Tree and Lowrider are certain to rejoice at the towering result!

Flame is Slow collects together three acclaimed seven-inch EPs (originally released on the Noisebox label in 1996 and 1997) by the mysterious, mercurial Navigator. The post-Loveless UK underground of the early 1990s was a vibrant place, despite what music biographies may tell you. What might now be lumped together as “post-rock” was in fact a varied and forward-thinking group of artists creating inquisitive music in the wake of the grunge goldrush. Contemporaries such as Hood, Flying Saucer Attack, Movietone and – of course – Mogwai and Arab Strap are rightfully seen as timeless nearly thirty years on but they’re really just the tip of the iceberg. Navigator might get mentioned less but their story is every bit as intriguing as any of their peers. Navigator formed in Norwich in 1994. Their music was consistently introspective and melancholic, but their brief existence of five years saw them move rapidly from traditional song structures towards noise, found sound, free improvisation, electronics, primitive instrument building and – ultimately - silence. They were an enigma back then and they remain so now. They released four seven inches before a solitary album Nostalgie (1997, Swarf Finger Records). Each release felt different to the last but always intimate and peculiar. Their use of sound and space is nothing short of magical. Rough and unsettling textures rub against each other, selected and mixed instinctively. Another band’s discarded mistake becomes a key element in their hands. The band received much acclaim and some genuine commercial success when single When the Wires Fall ended up in the indie charts. They shared stages with Low, David Thomas, Aerial M, Stars Of The Lid and Labradford and toured with Mogwai and Arab Strap culminating in the now-notorious, equipment-levelling performance at The Garage in London. The original version of the group played live for the last time in 1999 before quietly disappearing. It was perhaps inevitable that a band so committed to exploring and refining their sound should end by removing themselves from it entirely. Aside from a brief (and excellent) reformation in 2006 and a CDR compilation of those early seven inches, Navigator have been quiet for over 20 years until now. Flame is Slow assembles the blue, red and green Noisebox EPs into one cohesive album-length collection, remastered with care and reassembled by the band. It rightfully places Navigator where they belong – as one of the most curious, adventurous, and beautiful groups this island has ever produced. “Whenever I think of bands that more people should’ve heard than did, I always think about Navigator. It’s great that the music they made is going to be available again as it is truly special and deserves to be heard by more people” – Stuart Braithwaite

Demos and unreleased songs from Wand"s salad days, the time of the immortal Ganglion Reef. Available for download since 2017, this album"s at last firmly sunk into vinyl grooves that realize its fullest potential in a listener"s ears. These light, fizzy versions have distinctive gleaming magic energies all of their own and they fly thrillingly through the air. Catch a wave through beautifully-abandoned space on your turntable eternal!

‘I Got What You Need’ is the statement from a troubadour coming into town to inform and entertain the people. Bearing songs of soul searching, of spiritual uplift, of tunes to groove to. Equipped with a powerful voice and stinging guitar the troubadour lays down his marker and backs up the statement. Two Times UK Blues Award winner Mississippi MacDonald has it all to play that troubadour as he presents his third album on APM Records. The gravelly Gospel tones on If I Could Only Hear My Mother Pray Again, and the imploring emotion on Your Dreams have MacDonald stretching out vocally. The former song in turn also showcasing another tour de force from regular backing vocalist Lucy Randall. Two self-penned instrumentals pay tribute; 3.35AM, to one of MacDonald’s prime influences Freddie King, and Soul City One to the in-house studio sound of Stax / MacDonald continues to be an excellent interpreter of southern soul and two more songs from the stable of Memphis studio and publishing house Ecko in Hard Luck and Trouble and the title track prove this. So too the band’s take on the R&B classic We’re Gonna Make It which in MacDonald’s hands really swings. Sinking is an epic ballad in which to lose yourself completely. The album is rich in variety, vibe and soulful energy. It’s MacDonald’s Blues and a whole lot more. MacDonald is a guest artist with the ‘Take Me To The River All Stars’, performing on stage at Red Rooster, filmed in session with Eric Gales and Jools Holland, and is filmed again at Royal Studios in Memphis on October 1st. MacDonald and band will perform at the UK Blues Challenge on October 8th, MacDonald is special guest of Visit Mississippi in Liverpool on October 18th when they unveil the first ever Blues Trail marker outside The Cavern. MacDonald will perform with Clarksdale veteran Super Chikan. International PR agent Blind Raccoon has been engaged to promote the new album. Last album ‘Heavy State Loving Blues’ was no. 1 on Roots Music Radio Contemporary Blues, no.1 on the IBBA chart for albums of the year 2023, and top 50 on the US Apple iTunes Blues chart, plus plays and a session on BBC Radio 2 Blues Show (Cerys Mathews). Live shows running up to end of March 2025. A singer/ songwriter from London who speaks quietly but makes music with real gravitas. A rising star since winning Traditional Blues Artist Of The Year and Acoustic Act of the Year at the 2024 UK Blues Awards. MacDonald has released two previous albums on APM Records. ‘Heavy State Loving Blues’ in 2023, and ‘Do Right Say Right’ in 2021- selected as a top 10 Blues album of the year in MOJO.

GǼG, the production unit of Tokyo's leading club sound Monkey Timers and Okayama-based maverick producer Keita Sano, is proud to present this heavyweight, alternative, and leftfield release on the "Sound of Vast."

Over a powerful and mysterious bassline, the hypnotic A1 'Jack' builds up with sharp synth stabs, dark pads, and ACID voices taken from Ron Hardy's open reel soundtrack series Jackmaster Hater.
AA1 is followed by the obscure percussion track 'Yamato.' It is a reinterpretation of the drumming of legendary drummer Curt Cress from the German jazz-rock scene of the 80s in the context of dance music.
AA2, 'Central' takes the funky bassline of The S.O.S. Band's 1982 album 'High Hopes' and infuses it with roaring feedback, cutting guitars, and spacy synth sounds, giving it a fresh, modern twist and elevating it to the realm of cosmic disco.

Monkey Timers' love for the classics of disco, krautrock, and Chicago house, the intensity and immersion of current club music created by their real-life experience in the field, and Keita Sano's unique free-form outlandish sound techniques coexist on this 12" EP.

東京のクラブサウンドをレペゼンしてきたMonkey Timersと岡山の奇才プロデューサーKeita SanoによるプロダクションユニットGǼGが〈Sound of Vast〉より満を持して放つ超重量級オルタナティブ・レフトフィールド・ストンパー！

パワフルで不穏なベースライン上にRon Hardyのオープンリール音源シリーズJackmaster Haterから割愛した”Acid! Acid! Acid!” ヴォイスリフレインを刻み、鋭利なシンセスタブとダークなパッドでビルドアップしたヒプノティックなナンバーA1. Jackを皮切りに、80年代ドイツジャズロックシーンの伝説的ドラマーCurt Cressのドラミングをダンスミュージックの文脈で再解釈したオブスキュアなパーカッション・トラックAA1. Yamato、そしてThe S.O.S. Bandの82年作”High Hopes”のファンキーなベースラインに轟音フィードバックやカッティングギター、スペーシーなシンセサウンドで現代的なコズミックディスコへと昇華したAA2. Central。

ディスコ、クラウトロック、シカゴハウスといった古典への愛情と現場で積み重ねてきたリアルな経験が生み出す現行のクラブミュージックとしての強度と没入感、そしてKeita Sanoのフリーフォームで奇天烈なサウンドテクニックが同居した渾身の3曲を12“EPに収録。

Having established a legacy as one of the most highly regarded contemporary UK Jazz musicians of the past decade, Newham-based pianist Alfa Mist’s discography boasts such stone cold classics as ‘Antiphon’ ‘Bring Backs’ and ‘Nocturne’. Alfa is yet to be boxed into a specific genre as his music spans everything from hip-hop beat-making to producing for artists such as rapper Loyle Carner, composing neo-classical works for the London Contemporary Orchestra, and reworking tracks from composer Ólafur Arnalds and pioneering jazz label Blue Note, not to mention his collaborations with the likes of Jordan Rakei, Tom Misch and drummer Richard Spaven, producer Lester Duval and singer Emmavie.

Now unveiling his next offering, Alfa revisits his stellar 2024 performance with Manchester’s extraordinary string outfit Amika Quartet at heralded venue Kings Place (London), capturing the magic of the evening within this awe-inspiring live album. Featuring a handful of brand new, never-before-heard tracks (alongside a number of expansions of previous releases), ‘Recurring’ sees Alfa drawing inspiration from classic live Jazz recordings, capturing a unique moment in time that can never be replicated or replayed. Creating an authentic, unpolished and electric feel, feeding his long-running mission of real-time musical expressions that evolve with each performance. On the genesis of the record, Alfa says: ‘Some of my favourite albums are captured live performances. I came home from a long year of touring and decided to work on some music for Amika Quartet who I've been working with for years on a few different shows and projects. A lot of the music I release is recorded in whole takes, I think there's something nice about doing the best you can with the moments you have. I wanted to take that one step further by recording it as a live show and seeing what happens.'’

Due for release via Alfa’s own Sekito Records imprint, a potent, raw and spontaneous energy permeates the release. Marking his first project with a full string arrangement, the iconic Kings Place venue’s reputation for spectacular acoustics, as well as intimate setting made an ideal location for the live recording. The decision to record in a live venue rather than a studio was driven by Alfa’s desire to push beyond his comfort zone and explore new creative territories. On first single ‘Checkpoint’, Alfa also takes to the microphone, breaking away from his usual introspective lyrical style to make comments on the current state of the world. He explains: “ 'I've written lyrics before but this is the first time I've ever tried to write a poem and it ended up being about the double standards of violence we see in this world everyday”. This offering is a testament to Alfa’s continuous evolution as an artist, blending his introspective lyric with broader societal observations, all while maintaining the improvisational spirit of jazz.

The original pressings are already hard to find, being extremely rare! Plus, to collect them all, you'd need the cost of a car for this parade of super pricey premium editions! If you want to enjoy the ultimate rare grooves, this is your only option!

These soul and funk performances, buried in the midst of the late 70s US record industry, which could be considered the destiny of the TAX SCAM label, are a must-listen! Enjoy killer tunes with grooves and feelings that are just as good as the hits of the time!

Oliver Coates' Throb, shiver, arrow of time is a portal into somatic chiaroscuro, aglow with the embers of imperfect memories and smudged with the plumes of internal echoes, which augment in vast, mercurial dimensions. For his third album on RVNG Intl., the British cellist, composer and producer offers a capsule of personal resonance and remembrance, assembled over the past six years. Throb, shiver, arrow of time traces the familiar metallic anatomy and viscous string modulations of his 2020 release skins n slime, while recentering his inner compulsions following a procession of lauded score writing projects, including the films Aftersun (Charlotte Wells, 2022), The Stranger (Thomas M Wright, 2022) and Occupied City (Steve McQueen, 2023). While working on Aftersun, Wells asked Coates how music could signal that someone is going on a trawl through their memory_a question that has stayed with him ever since and fosters a heartbeat running through the record. Throb, shiver, arrow of time is "all about inaccurate transmissions from our memories, overlaid with emotions from other sources," says Coates. The release is imbued with the ache and glow of recollections mulched together, where the guttural dissonance of misremembering is shrouded by strange orbs of sentiment. At the record's inner core is "Shopping centre curfew," a swift yet cavernous track that emerged five years ago when two real world events, both occurring in South London during the pandemic lockdowns, became fused in a dream: the demolition of Elephant and Castle shopping center, and the discussion of a curfew as a real possibility for all men following a violent crime. A strange simultaneity occurred with this piece of music and Coates built the album out from there, a sense of temporal entropy refracting shimmers of lurking convulsions into lucid sonic topologies. The ten compositions of Throb, shiver, arrow of time find weightless melodies soaring across after-image gradients, magnified and compressed. Misted tones within "Please be normal" and "90" soften drone-soaked shudders of inner acoustics messing up. Vocal invocations appear from long-term collaborators Malibu and chrysanthemum bear, as well as drifting synth radiance from Faten Kanaan. Throb, shiver, arrow of time furthers Coates' reach in collapsing the digital into the analogue and vice versa, allowing serendipity to reorganize the material and push out against the confines of flatness. This sculptural approach to sound is deeply influenced by the intricate installations of artist Sarah Sze, whose permutations of visual matter with its own after-image form kaleidoscopic epitaphs for ephemera and emotion. Coates' thinking about Sze's work and processes flowed together with his own playing and editing techniques, superimposing the textural relief of a live take back into a composition, and allowing the sound to succumb to a dream of itself. As Coates expands, "The cello is a kind of melancholic instrument with a light ethereal spirit. When the sound is flattened into digital processes, with shifted frequencies and time stretching I'm trying to give it even more of those qualities. Sometimes I'm distancing myself from it, so it becomes a piece of discarded debris that has soul in it, a down-sampling. Or other times, it's trying to maximize the present tense in the act of playing, and collapse that vivid color into a burnished, photocopied kind of sound. So the music acts like weather, weathering the listener, or as flames licking at the sides of objects." As the record unfurls, the compositions swell in duration, until the granular glimmers of its finale "Make it happen" persist in almost violent delight. "There's a feeling of not wanting to let this album go, trying to defy the extinguishing sound at the end of the music, trying to push the colors beyond the confines of the structure, to defeat the silence." In the scramble to resist denouement, Coates suspends the arrow of time in its eternal flight, just for a moment, to reveal the solace of the dust settling in the afterglow. Oliver Coates' Throb, shiver, arrow of time will be released on vinyl, Japanese import CD, and digital editions on October 18, 2024. On behalf of Oliver and RVNG Intl., a portion of the proceeds from this release will benefit The Traditional Music and Song Association of Scotland, an organization fostering opportunities for people of all ages to participate in the traditional music and culture of Scotland.

“A huge thing for this record was to make it feel as close to our live show as possible,” says Tom Sharkett of W.H. Lung’s latest album. “We didn’t want it to sound live but we wanted to capture the excitement of the live performances.”

This is something that has become paramount to the group in recent years as they have undeniably blossomed into one of the most joyous and arresting live bands in the country. “The reason I’m in a band is to play live music,” says singer Joe Evans. “For me, music is live music. That’s what it’s for, to be played with people.”

The five-piece band, also featuring Chris Mulligan, Hannah Peace, and Alex Mercer-Main, decided to try something new on their third album after two incredibly successful collaborations with previous producer Matt Peel. In order to capture the energy, spirit and dynamism of their live shows, they relocated to Sheffield to work with Ross Orton (MIA, Arctic Monkeys, Working Men’s Club) who was able to harness this side of the band to remarkable effect. “Ross is the Sheffield Steve Albini,” says Evans. “He’s the king of not overthinking it and trusting the process of the art of recording songs. He was always there to stop us fucking around with cerebral stuff and get it down.” Sharkett echoes this too: “He was the exact producer we needed without us even realising. His productions and mixes are bombastic, lively and in your face and that’s exactly what we wanted.”

However, while this album is rooted in a sense of capturing a moment and a sparky liveness, that’s not to say it’s a raw or ragged record. It is still a meticulously composed, delicately layered and pristinely produced piece of work that, in true W.H. Lung style, runs the gauntlet from dance to pop to indie while still capturing that distinctly unique quality that is unquestionably their own. “It was a really big thing for me to realise what made us sound like us on this record,” says Sharkett. “I think the album sounds a lot more confident and self assured because of it. Some songs sound just so much like Lung and I’m really proud of that. I’m not sure we’ve done that as consistently across the other records.”

While the band have drilled deeper into finding their own singular identity, it’s not a record resting on its laurels. It’s a significant leap forward, expanding on their solid foundations while also breaking new ground. “The big difference with this record is its directness in every sense,” says Sharkett. “The songwriting is more upfront. Previously we’d focused a lot on vibe and production as opposed to just writing songs. The overall mission here was to revert to a classic songwriting structure and for the production to come afterwards.” And so what you have on this record are deeply considered and well-crafted songs, then recorded with blistering intensity in the moment, and then given a touch of experimentation afterwards. Then throw in Orton’s contributions to the band and it’s proven to be a real winning formula. “He brought a real dose of magic to the songs we’d written,” says Sharkett. “And brought an extra bit of wonk and quirkiness each time.”

The band’s ability to write more traditional and conventional songs is clearly a skill they’ve taken to with ease, at times there’s an almost Springsteen-like quality – but if he'd ever had an ecstasy period – to tracks such as ‘Thinner Wine’ and ‘Bloom and Fade’. While ‘How to Walk’ was constructed with one thing only in mind: that it would absolutely slay on stage. “I can’t wait to play this live,” says Evans. “We wanted a song to represent our live set, a new big one, and this is it.” Once again it leans towards the anthemic, with its driving, propulsive charge complete with incandescent synths and vocal melodies so irresistible you can already hear them being sung in unison by a crowd.

It’s an incredibly difficult feat to pull off a record that is more rooted in traditional songcraft while also capturing the power of a live performance, as well as pushing sonics into experimental new directions while working with a brand new collaborator. But here the band has managed to do just that. And the album’s closing song ‘I Will Set Fire To The House’ is a perfect example of such a thing. It’s a song that feels immaculately constructed but also very much alive and of the moment as its radiating synths engulf from the off, and Evans’ vocal is silky but powerful and in perfect symbiosis with Peace’s. It’s a song that captures the endless joys of music playing long into the night. “It may be a bit of a bloody bombastic way to end an album saying ‘and we’ll dance into the sunrise’,” says Evans. “But fuck it.”

MORE PRESS ON ‘VANITIES’ (MELO131)

"Vanities artily refines an exhilarating brand of up-front electro-dance" MOJO ⅘

'Idiosyncratic yet euphoric electronic pop on triumphant second LP' 9/10 Uncut

''One of the most effective alternative pop albums of the year'' 4/5 Record Collector
'Dance music for the modern age' - The Times (4*)

Step into the realm of legends with « This Thing EP » by Lukas Lyrestam & Simoncino, featuring the iconic voice of Robert Owens—a true gem on vinyl. This release brings together the visionary talents of rising stars Lukas Lyrestam and Simoncino with the remix artistry of house music luminary Chez Damier, crafting a blend of past and future that resonates with the magic of timeless house. The EP opens with « This Thing » a creation by Lyrestam & Simoncino, elevated by Robert Owens’ soulful vocals that weave effortlessly into the groove, setting the tone for a transcendent sonic journey. Chez Damier, one of the genre's most revered figures, takes the reins with a masterful remix that transforms « This Thing » into something even greater, infusing his deep and emotive style to further enrich the track's essence.

« This Thing EP » is more than a release; it's a celebration of house music’s enduring legacy, uniting legends across generations. Available in limited edition on Skylax Records, this vinyl is a must-have for true aficionados. Don’t miss your chance to own a piece of house history secure your copy and join the legacy.

Distance as a measure of time and place informs Kelly Finnigan's, A Lover Was Born with a grit and grace that turns passion into virtue. The latest solo release from The Monophonics frontman roots itself in the best traditions of midwest soul labels like King, Curtom, Dakar, and the Bodie Recording Company. A Lover Was Born is a testimony that these deep cut grooves are not resigned to nostalgia, instead, they are at the burning heart of longing and hope. The journey Finnigan takes listeners on over Lover's eleven tracks echo the state of motion and growth since his solo debut, The Tales People Tell (2019). These two records bookend a prolific period of output, including a pair of Monophonics albums, a Christmas album, a mixtape, and a full slate of producing other artists (The Ironsides, Alanna Royale, the Sextones). "There's nothing like making records," says Finnigan. "It feels like that's my purpose _ the reason I was put on this earth." Written in California, Ohio, and Staten Island, Kelly Finnigan collaborated with old friends in and outside the studio. "I enjoy working alone but it's not how you want to make a record_almost everybody I brought in for this album I've worked with, toured with or spent a great deal of time with." Max and Joe Ramey (The Ironsides), Jimmy James (Parlor Greens), Sergio Rios (Orgone), Joey Crispiano (Dap Kings) and Jay Mumford (aka J-Zone) all contribute to the overall sound of A Lover Was Born. Dramatic influences like Isaac Hayes (check out the piano on "Be Your Own Shelter") and Jerry Ragovoy are chopped and folded into Northern Soul uptempo numbers to create stompers like "Get a Hold of Yourself" or "Chosen Few". Finnigan's take on Deep Soul is captured brilliantly on "Walk Away from Me" and "Love (Your Pain Goes Deep)", while Boom Bap pervades on hard hitters "His Love Ain't Real" & "Cold World". Slower songs such as "Let Me Count the Reasons", the emotional "All That's Left", and the soul-stirring album closer "Count Me Out" show the honest and tender side that has become Finnigan's calling card. All the while, the voice is raw and earthy _ in the best tradition of R&B shouters like Otis Redding, Lee Moses, and David Ruffin. The songs on A Lover Was Born reconfigure the spliced and sampled DNA of hip hop (extracted by crate diggers like Dilla and RZA) to create something new, underscoring both the spectrum and depth of soul while making a case to the timelessness of Finnigan's sound.

Distance as a measure of time and place informs Kelly Finnigan's, A Lover Was Born with a grit and grace that turns passion into virtue. The latest solo release from The Monophonics frontman roots itself in the best traditions of midwest soul labels like King, Curtom, Dakar, and the Bodie Recording Company. A Lover Was Born is a testimony that these deep cut grooves are not resigned to nostalgia, instead, they are at the burning heart of longing and hope. The journey Finnigan takes listeners on over Lover's eleven tracks echo the state of motion and growth since his solo debut, The Tales People Tell (2019). These two records bookend a prolific period of output, including a pair of Monophonics albums, a Christmas album, a mixtape, and a full slate of producing other artists (The Ironsides, Alanna Royale, the Sextones). "There's nothing like making records," says Finnigan. "It feels like that's my purpose _ the reason I was put on this earth." Written in California, Ohio, and Staten Island, Kelly Finnigan collaborated with old friends in and outside the studio. "I enjoy working alone but it's not how you want to make a record_almost everybody I brought in for this album I've worked with, toured with or spent a great deal of time with." Max and Joe Ramey (The Ironsides), Jimmy James (Parlor Greens), Sergio Rios (Orgone), Joey Crispiano (Dap Kings) and Jay Mumford (aka J-Zone) all contribute to the overall sound of A Lover Was Born. Dramatic influences like Isaac Hayes (check out the piano on "Be Your Own Shelter") and Jerry Ragovoy are chopped and folded into Northern Soul uptempo numbers to create stompers like "Get a Hold of Yourself" or "Chosen Few". Finnigan's take on Deep Soul is captured brilliantly on "Walk Away from Me" and "Love (Your Pain Goes Deep)", while Boom Bap pervades on hard hitters "His Love Ain't Real" & "Cold World". Slower songs such as "Let Me Count the Reasons", the emotional "All That's Left", and the soul-stirring album closer "Count Me Out" show the honest and tender side that has become Finnigan's calling card. All the while, the voice is raw and earthy _ in the best tradition of R&B shouters like Otis Redding, Lee Moses, and David Ruffin. The songs on A Lover Was Born reconfigure the spliced and sampled DNA of hip hop (extracted by crate diggers like Dilla and RZA) to create something new, underscoring both the spectrum and depth of soul while making a case to the timelessness of Finnigan's sound.

Distance as a measure of time and place informs Kelly Finnigan's, A Lover Was Born with a grit and grace that turns passion into virtue. The latest solo release from The Monophonics frontman roots itself in the best traditions of midwest soul labels like King, Curtom, Dakar, and the Bodie Recording Company. A Lover Was Born is a testimony that these deep cut grooves are not resigned to nostalgia, instead, they are at the burning heart of longing and hope. The journey Finnigan takes listeners on over Lover's eleven tracks echo the state of motion and growth since his solo debut, The Tales People Tell (2019). These two records bookend a prolific period of output, including a pair of Monophonics albums, a Christmas album, a mixtape, and a full slate of producing other artists (The Ironsides, Alanna Royale, the Sextones). "There's nothing like making records," says Finnigan. "It feels like that's my purpose _ the reason I was put on this earth." Written in California, Ohio, and Staten Island, Kelly Finnigan collaborated with old friends in and outside the studio. "I enjoy working alone but it's not how you want to make a record_almost everybody I brought in for this album I've worked with, toured with or spent a great deal of time with." Max and Joe Ramey (The Ironsides), Jimmy James (Parlor Greens), Sergio Rios (Orgone), Joey Crispiano (Dap Kings) and Jay Mumford (aka J-Zone) all contribute to the overall sound of A Lover Was Born. Dramatic influences like Isaac Hayes (check out the piano on "Be Your Own Shelter") and Jerry Ragovoy are chopped and folded into Northern Soul uptempo numbers to create stompers like "Get a Hold of Yourself" or "Chosen Few". Finnigan's take on Deep Soul is captured brilliantly on "Walk Away from Me" and "Love (Your Pain Goes Deep)", while Boom Bap pervades on hard hitters "His Love Ain't Real" & "Cold World". Slower songs such as "Let Me Count the Reasons", the emotional "All That's Left", and the soul-stirring album closer "Count Me Out" show the honest and tender side that has become Finnigan's calling card. All the while, the voice is raw and earthy _ in the best tradition of R&B shouters like Otis Redding, Lee Moses, and David Ruffin. The songs on A Lover Was Born reconfigure the spliced and sampled DNA of hip hop (extracted by crate diggers like Dilla and RZA) to create something new, underscoring both the spectrum and depth of soul while making a case to the timelessness of Finnigan's sound.

Kumar, former lead singer of GRAMMY-nominated roots reggae band Raging Fyah, meets Switzerland's The 18th Parallel on this album filled with classic Roots Radics-inspired riddims and positive roots lyrics and energy. Four years in the making, going back and forth from Kingston to Geneva, TALES OF REALITY is a tribute to the golden age of Jamaican roots music done in a modern way. Kumar has recently appeared on a number of releases, including as a guest on Jesse Royal's GRAMMY-nominated ROYAL and Winta James' Gratitude Riddim EP. The 18th Parallel, based in Switzerland, is the house band for Fruits Records and recently released music"with Max Romeo, Big Youth, Lee "Scratch" Perry, Derajah, Micah Shemaiah, and Joe Yorke. The album is mixed by Tippy I and JAH David of Zion I Kings. Kumar's and Fruits Records' story together goes back to the foundation of the label in 2015. " The 18th Parallel first invited Kumar to sing on 'Pass It On' (2016). At the same time, Kumar and his band Raging Fyah were exploding on the reggae scene. A couple years later, starting his solo career, Kumar was invited to sing on Najavibes' song 'This Dust' (2019), another offspring from the Fruits Records stable. In 2020, Kumar teamed up with The 18th Parallel on 'Message In The Radio.' After three singles, Fruits Records felt the need to push the collaboration further by producing a full showcase album pairing Kumar with The 18th Parallel.

Forgive Yourself. Learn to live with yourself. Don't hurt yourself. This is the mantra of the new album Venus Smiles Not in the House of Tears from Samora Pinderhughes. Made over 8 years with loving detail by Pinderhughes and his longtime producer Jack DeBoe, it is a deeply personal exploration & reflection of mental health in the modern age. It tells a non-linear story about a relationship that didn't last, and the lessons learned through it. How can love exist when grief is in the way? Musically it's intentionally tough to pin down. Although Pinderhughes is Juilliard-trained, Venus is an open-genre exploration of musicmaking with wide-ranging production and a cinematic landscape of feeling and spirit. From quiet, contemplative piano pieces to hard-hitting and soulful full band jams, to expansive and fullthroated choir celebrations, Venus is a fitting accompaniment to a multitude of daily human experiences. It also features artists from Pinderhughes's tight-knit NYC community, representing a wave of new artists who thread the ethics of honesty & vulnerability into their work. Says Pinderhughes of the album, "Mental health isn't solitary; it's about how our feelings, fears, traumas, and conceptions of self meet the world around us. Like so many, I've struggled with depression, anxiety, and isolation within a complicated matrix of identities. I wanted to make a project that would be brutally and lovingly honest about what it feels like to try to sift through the debris of time. A project that really engages with what it means to love, in the midst of a society that teaches us all the wrong lessons. Our modern world wants us to get over things quickly and easily. That's where shame enters the picture, because when you struggle with deep cyclical feelings, the process of engaging with these elements in your life is never linear. It is always two steps forward, one step back. Kindness and honesty are required in equal measure in this life. Hopefully through the prism of these songs, you can feel something that resonates with you in your own life and experience." Pinderhughes is known for striking intimacy and carefully crafted, radically honest lyrics alongside high-level musicianship, and for using his music to examine sociopolitical issues and fight for change. His work delves into the things our society tries to hide - its history, its structures, and the things we all experience but don't know how to talk about. It is an invitation to feel and think deeply about how we live and a commitment to making art that is useful for everyday life. The New York Times described Pinderhughes' 2022 album GRIEF as a "visionary" work from "one of the most affecting singer-songwriters today, in any genre." Pinderhughes - a collaborator across boundaries with artists including Herbie Hancock, Glenn Ligon, Sara Bareilles, Common, Robert Glasper - is the creator and director of The Healing Project, a project that examines trauma & healing from incarceration, detention, and structural violence. Pinderhughes was the first-ever Art for Justice + Soros Justice Fellow and a recipient of Chamber Music America's 2020 Visionary Award. He is also a United States Artist Fellow, Creative Capital awardee, and Sundance Composers Lab fellow.

Philadelphian Jazz legend Benny Golson, an American bebop/ hard bop jazz tenor saxophonist, composer, and arranger, has had a long and storied career.

He has played with luminaries such as John Coltrane, Dizzy Gillespie and Art Blakey, to name just a few.

With his 1978 album “I’m Always Dancin’ To The Music,” Golson took a unique turn. Known primarily for his hard bop roots and classic compositions like “Whisper Not”

and “Killer Joe,” Golson steps into the realms of jazz-funk and disco with this release.

The title song is a stellar dance groove, holding heavyweight status among underground soul, funk, and jazz aficionados—a true ‘rare groove’ indeed.

Produced by George Butler, the instrumental hook of this title song has been sampled many times by artists such as Naughty by Nature, Logistics, Leona Lewis, and many others.

This is a real hidden gem and well worth seeking out!

This release comes as a limited edition of 750 copies on light green coloured vinyl.

On October 18th, Minnesota born singer-songwriter Breymer, aka Sarah Walk (she/they), will release ‘When I Get Through’ with One Little Independent Records. The album is a strikingly honest exploration of their relationship with gender and identity, and specifically it tracks Walk’s experience undergoing top surgery, from making the decision to the process itself.

Breymer utilizes a rich array of instrumentation elevated by a standout vocal performance, raw lyricism, and textured production by Grammy winning Tyler Chester. Exquisite, layered vocal harmonies across the record enforce its reflective themes, and at times the conversation seems to be internal, with much of the record posing questions such as “Am I better now?”, “Am I on the wrong path?”, “Who am I?”. ‘When I Get Through’ examines a journey of self-discovery, it’s introspective and transformative, and it’s a testament to the strength of its lead; someone willing not just to make the choice, but to document the emotional experience in its entirety.

On their decision to change their artist name, Walk explains that “this album feels really transformative to me. I was compelled to have some kind of separation between my artist existence and personal existence. Bremer is my middle name and has always been intriguing to me; I like that it’s androgynous and uncommon. I changed the spelling, and it feels like it suits my music, particularly parallel to this album, and I was ready for a fresh start. Choosing a name requires a certain amount of agency and intentionality. This album feels bold and gender non-conforming, and Breymer felt like it encapsulated all of that”.

Revelatory and radically insightful, ‘When I Get Through’ bares all as Breymer takes listeners through every stage of their pursuit for self-acceptance. Unlike anything that has come before it, Walk’s ideas surrounding their own physical and mental progress are candid, authentic and ultimately breathtaking. Amidst a body of deftly constructed songcraft and extraordinary poeticism, Breymer has penned a companion piece for anyone in search for their true selves.

On October 18th, Minnesota born singer-songwriter Breymer, aka Sarah Walk (she/they), will release ‘When I Get Through’ with One Little Independent Records. The album is a strikingly honest exploration of their relationship with gender and identity, and specifically it tracks Walk’s experience undergoing top surgery, from making the decision to the process itself.

Breymer utilizes a rich array of instrumentation elevated by a standout vocal performance, raw lyricism, and textured production by Grammy winning Tyler Chester. Exquisite, layered vocal harmonies across the record enforce its reflective themes, and at times the conversation seems to be internal, with much of the record posing questions such as “Am I better now?”, “Am I on the wrong path?”, “Who am I?”. ‘When I Get Through’ examines a journey of self-discovery, it’s introspective and transformative, and it’s a testament to the strength of its lead; someone willing not just to make the choice, but to document the emotional experience in its entirety.

On their decision to change their artist name, Walk explains that “this album feels really transformative to me. I was compelled to have some kind of separation between my artist existence and personal existence. Bremer is my middle name and has always been intriguing to me; I like that it’s androgynous and uncommon. I changed the spelling, and it feels like it suits my music, particularly parallel to this album, and I was ready for a fresh start. Choosing a name requires a certain amount of agency and intentionality. This album feels bold and gender non-conforming, and Breymer felt like it encapsulated all of that”.

Revelatory and radically insightful, ‘When I Get Through’ bares all as Breymer takes listeners through every stage of their pursuit for self-acceptance. Unlike anything that has come before it, Walk’s ideas surrounding their own physical and mental progress are candid, authentic and ultimately breathtaking. Amidst a body of deftly constructed songcraft and extraordinary poeticism, Breymer has penned a companion piece for anyone in search for their true selves.

Produced by Wild Rivers and Gabe Wax (Soccer Mommy, Adrienne Lenker), "Better Now" consists of eight tracks that complement the recent album Never Better, as the group dives deeper into the complicated, confusing and unknown realities of life in their twenties, and the personal growth they’ve found through it all. Of the new project, Wild Rivers shares: “Better Now" is our companion record, and the other side to "Never Better".

On the first record, the songs contain raw, absolute and instinctual feelings. In many ways, Better Now is the afterglow of this. We’re reflecting and understanding that relationships change over time. Complicated situations can be just that, complicated. Feelings can remain unresolved. If the first record is bright and bold, this one is the softer gradients in between; the sunrises and the sunsets. Both projects make up the full spectrum of who we are.

"Better Now" is just the moodier, misunderstood one. Musically the records really are twins. We wrote all of the songs at the same time. Finishing Better Now, we really felt that it was the close of a massive musical and personal chapter. It’s bittersweet but so meaningful to be able to chronicle our lives between these projects. Ultimately, we are optimistic; ‘better now,’ after the ups and downs of the relationships and turbulence of our twenties. Hopefully we’re wiser for it.”

“Dropsy? Now there’s a name I have not heard in a long time…” Well, that makes one of us, because composer Chris Schlarb’s soundtrack hasn’t left my rotation in the years since I first played developer Jay Tholen’s brilliant wordless adventure. I remember the exact moment I decided to reach out to Chris Schlarb about a vinyl release: I was playing the game with my then six year old daughter, scouring the street as Dropsy for clues, as the sultry jazz of Kierkegaard’s Neon Lights guided the tone in the background. My daughter took her hand off the mouse for a second and said, “This music…” she paused, finger to her chin, ”… is really good.” That was good enough for me. Originally released as a 1LP in 2015, the soundtrack has been long since out of print and quite difficult to get your hands on. Especially at a decent price. Believe me, I’ve tried. So I decided to rectify that, and maybe go the extra mile as well, because if there’s a soundtrack that deserves it, Dropsy certainly qualifies. – A deluxe 2LP release of the Dropsy soundtrack – Exclusive liner notes by Clint Basinger, host of the LGR (formerly Lazy Game Reviews) YouTube channel – Side A & B containing 28 tracks of the original soundtrack by Chris Schlarb – Side C containing 17 rare demo tracks from the Dropsy sessions – Side D containing the full Eternal Hug EP by game creator Jay Tholen (Hypnospace Outlaw, Slayers X: Terminal Aftermath: Vengeance of the Slayer), for the first time on vinyl – Cover design by Jay Tholen – 3D art design by Crisppyboat

“Dropsy? Now there’s a name I have not heard in a long time…” Well, that makes one of us, because composer Chris Schlarb’s soundtrack hasn’t left my rotation in the years since I first played developer Jay Tholen’s brilliant wordless adventure. I remember the exact moment I decided to reach out to Chris Schlarb about a vinyl release: I was playing the game with my then six year old daughter, scouring the street as Dropsy for clues, as the sultry jazz of Kierkegaard’s Neon Lights guided the tone in the background. My daughter took her hand off the mouse for a second and said, “This music…” she paused, finger to her chin, ”… is really good.” That was good enough for me. Originally released as a 1LP in 2015, the soundtrack has been long since out of print and quite difficult to get your hands on. Especially at a decent price. Believe me, I’ve tried. So I decided to rectify that, and maybe go the extra mile as well, because if there’s a soundtrack that deserves it, Dropsy certainly qualifies. – A deluxe 2LP release of the Dropsy soundtrack – Exclusive liner notes by Clint Basinger, host of the LGR (formerly Lazy Game Reviews) YouTube channel – Side A & B containing 28 tracks of the original soundtrack by Chris Schlarb – Side C containing 17 rare demo tracks from the Dropsy sessions – Side D containing the full Eternal Hug EP by game creator Jay Tholen (Hypnospace Outlaw, Slayers X: Terminal Aftermath: Vengeance of the Slayer), for the first time on vinyl – Cover design by Jay Tholen – 3D art design by Crisppyboat

Releasing in the autumn of 2024 Andy Smith's curation of the 3rd volume in his Reach Up – Disco Wonderland series brings us more carefully selected music from the Discosphere. With tracks from artists as far ranging as Buscrates, Trailer Limon and Rena Scott included in this 16 track killer compilation Andy has also included excellent edits and remixes from such stellar names as Full Intention, Yam Who and Skratch Bastid. Indeed, the CD and digital versions of the release also include a fully continuous Skratch Bastid mix of all 16 tracks. Reach Up-Disco Wonderland vol. 3 was curated during the lockdown periods of the pandemic after a series of virtual 'nights out' viewing DJs such as Skratch Bastid, The Nextmen, Chris Wheatley and others performing sets on the Twitch platform. Andy is now playing out in the real world with some of the DJs he 'met' online so now the time is right to drop this compilation on BBE Music. Andy Smith's pedigree in sourcing and mixing tracks from across eras and genres goes back to his debut compilation release The Document in 1998, he was the explorer and provider of samples and breaks for the first two Portishead albums and played as the band's international tour DJ. His compilation track record of some fifteen plus releases since 1998 has covered New Orleans Funk, Northern Soul, Reggae, the mixed genre follow ups to the The Document and, of course, the now three volumes of the Reach Up-Disco Wonderland series on BBE Music. Pressed as a triple vinyl LP, along with the aforementioned double CD and digital versions, not only is Reach Up-Disco Wonderland vol. 3 a delight for the DJ consul and the dance floor, but also an audiophile's dream on vinyl with all tracks mastered at the renowned and Grammy nominated Carvery Studios.

Pique is the sensational debut solo album from Dora Morelenbaum, one of the key talents spearheading Brazil’s new musical wave. A member of the Latin Grammy award-winning band, Bala Desejo, Dora showcases a new side to her solo productions on this special LP. Whereas Dora’s first solo EP, Vento de Beirada, was a leap of faith, Pique sees her soaring as one of Brazil’s standout stars, emboldened, emphatic but ever elegant. Building bridges between past and present, it’s a funkier, more groove-based affair, weaved together with those signature, slower, celestial tracks. Touching on disco, MPB, soul, R&B and jazz, the album is enriched with an indie pop aesthetic courtesy of fellow Brazilian star and co-producer, Ana Frango Elétrico.

With an ethereal, enveloping air few can match, Dora’s gift shines through both the serene and the spirited songs contained within. The blissful, sun-soaked ‘Não Vou Te Esquecer’ opens, before the funk-fuelled, feel-good ‘Venha Comigo’ and ‘Sim, Não.’ give a glimpse of the creativity bursting from the production partnership between Dora and Ana Frango Elétrico. Elsewhere, the album reclines into hazy lean-back realms via ‘A Melhor Saída’ and ‘Petricor’, virtuoso jazz funk in the form of ‘VW Blue’ and radiant MPB through the album’s title track ‘Pique’.

The drumming is tight, fresh and swung, the horns and strings deftly arranged, as funk-driven basslines and strutting guitars mesh with playful production touches that give an added vibrancy to the record. It is an album that exhibits every side of Dora and one she has been involved in from the ground up, from the songwriting, singing, arrangement and production to booking the studio time and sourcing the artwork designer, Maria Cau Levy.

An exchange of musical ideas powers every great scene and Rio’s contemporary landscape is no different - a family of interconnected musicians and friends that collaborate on each other’s productions. Pique is graced by a wealth of these leading Brazilian lights including her Bala Desejo bandmates Lucas Nunes, Julia Mestre and Zé Ibarra, as well as Guilherme Lirio, Alberto Continentino and Tom Veloso to name just a handful. This exchange crosses generations merging tradition with modernity. In a full circle moment, Dora’s parents Paula and Jaques Morelenbaum, who featured in countless recordings from Tom Jobim's Nova Banda and Ryuichi Sakamoto to Gal Costa and Gilberto Gil, join on the album through backing vocals and arrangement.

Pique sees Dora embrace a freedom through fresh forms, showcasing the depth and diversity of her creative artistry. An infinitely listenable release that nods to Brazilian greats like Gal Costa, Banda Black Rio and Lincoln Olivetti, fused with the indie pop edge of Ana’s production. The result is truly unique and sure to be a future Brazilian classic.

mindSET is the ninth album from enigmatic producer SW., directly following this summer’s excursion into his trademark techno, IDM and bleep soundscapes, on the myDEFINITIONS Vol II album. But with his mindSET album SW. takes a left turn, as pioneers often do, and we find ourselves on the lesser traveled side roads of electronic music history. Or in SW.’s own words: “the more abstract leftfield elements.”
It’s in these less-defined areas that SW. finds his sweet spot, building dancefloor soundtracks that defied definition. And with mindSET the sounds and the machines might have changed, the methodology remains the same.
“It draws from what was more generally seen in leftfield as a term for the slightly off-kilter house and broken beats that didn’t fit neatly into classic genres, whether that was Chicago house, French garage, drum and bass, or broken beat. It’s more about those in-between sounds that never really took off, only appearing briefly in the early to mid-90s and then quickly disappearing. There was a certain magic in that moment, which I wanted to capture. Also, the entire album was produced using classic analog equipment, with old machines that were used during that era. That’s the approach I’ve taken.”
The eight tracks on mindSET are shaped out of de-tuned techno pop synths and heavy, syncopated drums, grooving along chopped-up polymeters to create an eerie mood, as if orbiting an undiscovered planet for the first time. The harmonic movements are often bent out of shape, sometimes veering towards Gherkin Jerks or Cristian Vogel territory. But in the end, the sounds are less important than the atmosphere, and the tracks represent an attitude or an approach - to creating the music as well as experiencing it. mindSET is a nod to those dancers sharing an oddball moment, and for those of us on the same wavelength, it's a vibe we can all get inside.

15 years onwards from the original release in October 2009, "This Is …" by Gizelle Smith & The Mighty Mocambos remains a classic in its genre. Upfront, raw and melodic, this super sister funk album has not aged at all. Now, in 2024, it is time for a proper re-release with unreleased bonus tracks, rare remixes and a limited edition double vinyl album. Welcome to the deluxe version of "This Is …" by Gizelle Smith & The Mighty Mocambos.

Read here what the original release sheet said about the album:

"Strong album – packs a serious punch" Craig Charles Funk and Soul Show, BBC 6 Music

"A breath of fresh air" Keb Darge

"Really amazing stuff, full of killers" Nick / Record Kicks

"Definitely recommended" Peter Wermelinger, Funky & Groovy Music Records Lexicon

"What a fantastic album – this is proper funk" Tobias Kirmayer, Tramp Records

Ever since their first collaboration on the "Mocambo Funk Forty Fives" compilation, things have gained momentum for Gizelle Smith, the "Golden Girl of Funk", and the much respected Hamburg-based label and live band The Mighty Mocambos. Their first single "Working Woman" became an overnight smash and a prime-time club favourite of funk & soul DJs from all over the world. Initially released on the Finnish private press label Old Capital, producer legend and Grammy nominee Kenny Dope (Masters at Work, Bucketheads) picked up and remixed the song for his own label Kay Dee Records. Gizelle Smith & Mocambo now step up with a full-length album of bonafide sister funk. In the days of digital recording and Pro Tools editing, they show true exception to modern techniques and create their highly regarded, unique and raw soul sound, by making use of simple dynamic microphones and reel-to-reel tape machines. In a genre which is often littered with overused clichés of the past, the charismatic Gizelle Smith adds a lot of her own flavour rather than slavishly copying icons of bygone decades. The result is a refreshing alternative to post-millenium plastic pop without being a mere retro rip-off. From the heavy and determined "Gonna Get You" to vulnerable, gospel-tinged laments such as "Coffee High", "This Is Gizelle Smith & The Mighty Mocambos" is just as deeply rooted in the music from the golden era of soul as it is a modern masterpiece in its own right. Blazing horns, soulful guitars, driving drums and basslines combined with Gizelle's gripping and powerful voice all weave together to create a long player that is varied and coherent at the same time.

One of London’s most loved underground parties, Tangent, celebrates its 10th birthday this year with a new compilation on Mr Bongo. Its residents, John Gómez and Nick the Record, have curated a selection of prized, rare and dancefloor-ready tracks that have soundtracked the past decade of their parties. Alongside remastered reissues of these original cuts, the CD version of the compilation also houses three incredible edits from Nick, John and Dan Tyler of the Idjut Boys. These were too good not to press onto vinyl, so we’ve given them the standalone 12" they deserve.

Contextualising their edits Nick states, “Tangent was not only the place for us to play the music we love the most, it also became the testing ground for our edits. It was really helpful being able to see the effect each of these had on a dancefloor before the records were released and many of them also became firm Tangent classics.”

Up first, Nick is joined by Dan Tyler (Idjut Boys), who he runs the edit label Record Mission with, for a furiously feel-good re-edit of Leo Basel’s ‘Quelle Drôle De Vie’. Basing their edit on the 1987 ‘Special Remix’, it does what any great re-work does, dropping the sections from the original that don’t quite hit the mark, whilst focussing on the gold in amongst it all. The result is a slice of peak-time, French boogie joy, that will warm even the coldest hearts.

John then joins Dan at the dials for a cosmic revamp of Love Isaacs 'Surprise Surprise'. A serving of ‘80s electro-funk, dripping in swagger with a highlife tinge. John and Dan extended the grooves for maximum dancefloor power, space echoing it into the stratosphere at all the juiciest points.

Lastly, Nick takes on Rick Asikpo and Afro Fusion 'Let's Get High' from the super sought-after 1980 album, Got To Be Me. Celestial, gospel-infused soul from Nigeria, Nick homes in on the energetic last 2 minutes of the original as the building block of his 12-minute edit. A completely reworked, feverishly paced creation, Nick switches the sections around, saving the slow, soulful segment for a brilliant cosmic breakdown before the track erupts back into its full flow. Synthesised, jazz-funk elation from start to finish!

In Cornish slang it is said that things get done ‘dreckly’; that is, not now, not necessarily tomorrow, but, at some indefinite point...in the future...soon...

Fitting then that when Bristol’s Langkamer decamped to their de facto home-from-home in the picturesque south-west seaside town of Falmouth to record their third album in as many years (with an EP thrown in there too) - there was no particular need to rush things: “The process was much slower and more considered for Langzamer.”, drummer/vocalist Josh Jarman explains: “The first two albums felt pretty urgent, and each was finished in about 6 months, but this one feels a lot more deliberate. It’s taken us two years to get this done.”

Equally fitting too that Langzamer kicks off proceedings with ‘Heart of Tin’: the first bars are languidly lugubrious, so deliciously plucked-out and scuzzed-up that they linger in the air like passing smoke, magically, slowing time down to their own assured and steady will. And in so much time, that also feels like no time at all, comes an opening line of such stark, disarming confessionalism as might be found in the David Berman/Silver Jews songbook: “Do you want the good news or the bad news first? // They’re both bad news, but the bad is worse” It’s Langkamer in a nutshell: embattled, heart-on-sleeve Slacker Rock slaked with twinges of fret-sliding Americana, yet deeply embedded in the folk mythologies, colloquialisms and experiences of the band’s West Country roots.

Throughout Langzamer, confronting the listener again and again is this conflict between the band’s breezy, melodic charm, and the threat of something more sinister lurking in the undergrowth. While those more familiar with Langkamer’s oeuvre to date will have already come to know and love their often self-deprecating yet witty lyricism, the songs on Langzamer take this trademark ebullient gloominess to more challenging plains: “Principally this is an album about grief, and everything that entails...” explains Jarman. “in a sense death brought these songs to life.”

This thread is felt no more so than on ‘Salvation XL’. Inspired by a “particularly bad batch of food poisoning I had in Morocco”, Jarman explains, and beginning with the memorable opening line, “Jesus came to me a Burger King in Marrakech”, the band wind their way through the ‘big topics’: death and God.

“This trip was shortly after a few of my friends had passed away, and I think a lot of my thoughts and actions at that time were being influenced by my grief without me realising it.”, he explains, “Whenever I dwell on grief, and how death has given my life a new context, I come back to that. The ongoing battle between agnosticism and atheism. I wasn’t raised in a very strict religious home, but I come from a long line of methodists, and it’s interesting to think about the way theism and religion have shaped my life without me knowing it. I think that’s being channelled on this album a lot. The uncertainty that comes with disbelief.”

Our collective mortal frailties are also felt on lead single ‘Richard E Grant’. With a trademark bittersweetness, a track that begins as an appreciation of the actor’s humorous social media presence unfolds as a study on “finding healthy coping strategies to deal with loss.”. Elsewhere, ‘At The Lake’ - to the tune of mournful, folk-like balladry - explores binge-drinking culture and the troubled association between unhealthy behaviour and creativity. The listener is left in no mind as to the meaning behind the references to James Joyce and Janis Jopin as “souvenirs stolen from the dark”.

With themes as weighty as these strewn across the album’s 10 tracks, It seemed like a particularly astute move then for the band to personally approach Ben Woods, founder of the Golden Dregs, to assist on production duties. Not only would the delicate intimacies of Woods’ main project - see 2023’s On Grace & Dignity for reference - add an appropriate moodiness, but Woods was also born and raised in Cornwall, where the album was recorded; amidst “eating pasties” and breaks by the sea, Woods and the band transformed the vaults underneath iconic Falmouth venue The Cornish Bank into a makeshift studio for a weeks’ worth of recording. Occasionally friends would drop by to lighten the load; Zander Sharp tracking violin on ’Double Island’ and ‘Flight’; Josh Law and Ben Sadler of Breakfast Records labelmates Getdown Services, both of whom contribute to the soul-stirring ‘mountain’ chorus on ‘Aberfan’.

When compared to the brightness of 2023’s The Noon and Midnight Manual, Woods’ influence on the record seems indisputable. On the aforementioned ‘At The Lake’, for instance, which features backing vocals from Woods. Or, most acutely, on the piano strains of harrowing closer ‘Bluff’, a track with such chilling, spectral severity as to effect the band’s most heartbreaking effort to date. While it’s particularly sombre note on which end proceedings, it's also an appropriate one: Langzamer bravely stands tall as their most restrained, matured, and sincere collection to date. And almost by virtue of its impeccable honesty, those moments of sunshine-joy that creep through the cracks feel that much more golden.

Both tracks were written and produced by Lee Perry. This is the first time these two complementary tracks have been released together.

The A side is the first ever reissue of the gorgeous SINNER MAN by ANNETTE CLARKE. This rare track was initially released as the B side of JUST ONE LOOK, also performed by ANNETTE CLARKE on the Technics label in the UK in 1973. It seems it was never released in Jamaica.
The B side SINNER MAN DUB is a very rare Lee Perry Dub version of the A side. It was released only as a single for a Lee Perry box of 8 very rare singles by Trojan in 2005. This box is now also rare.

ABOUT LEE SCRATCH PERRY:
Lee "Scratch" Perry was born Rainford Hugh Perry on the 20 March 1936 in Kendal Jamaica. An eccentric Reggae artist and a genius producer, Lee has written, sung and/or produced unique tracks for himself and everybody else worldwide from Bob Marley and Junior Murvin to the Clash and many more… Under his own name, he recorded over 80 albums, countless singles and covered every musical style from Ska, Rocksteady and early Reggae to Dub, Roots Reggae and their electronic variations... His influence on Jamaican music and Reggae is just immense.
Perry died on 29 August 2021 in Lucea, Jamaica, during the Covid outbreak, aged 85.

ABOUT ANNETTE CLARKE:
Unfortunately, very little is known about Annette Clarke besides the fact there was a Jamaican singer that recorded Rhythm’ n Blues and Ska duets with Shenley Dufus in 1961 and with Charley Organaire in 1964. She also recorded this gorgeous duet with Roy Pantone “My Baby” in 1963.
Then nothing until this session with Lee Perry in 1973 where she aparently recorded just two songs, the lovely cover of the 1963 Doris Troy’s “Just One Look” and “Sinner Man”, a gorgeous song penned by Lee Perry and unrelated to the Nina Simone’s hit. Then there is no trace of further recordings after these. A real shame considering the outstanding talent she showcased with these two superb songs…

In collaboration with musicians and parody artists Auralnauts, Stumpy Frog Records has pressed the soundtrack to their ongoing series of ‘As Seen on TV’ parodies known as the ‘Infomercial Wars’. During an unspecified point in time, a faceless dystopian company pushes out products under the guise of improving the quality of life for humanity. The commercials have a sexy presentation to them, designed to lull the viewer into a hypnotic state and gloss over what is really being sold to them: enslavement to an evil entity. The true purpose of these products is clear to anyone with an iron will: to imprison your mind, strip away your humanity and weaponize what remains. Humanity’s only hope is a scrappy group of freedom fighters whose key to success is convincing you to buy their products instead of the enemy’s. May the best infomercial win. Beyond humanity. Beyond Copper. The parody series is made up of real life infomercials with complete audio makeovers. The products themselves vary from one commercial to the next, but a popular trend in these ads is the seemingly unlimited uses for copper, which is taken even further by the parody versions. The bubbly pitchman from the source material has been replaced by a soothing, yet vaguely threatening alien presence. This mysterious voice paints a picture of a world that would make David Cronenberg and James Cameron blush, and all of it is held together by a dystopian soundtrack that is perfect for ushering humanity into the next step of this forced evolution. Side A of the album contains six full length studio versions of the music featured in each ad. 1) 300% More Human 2) Techromancer 3) Full Body Copper System 4) Master of Reality 5) Final Boss (Sock Defense Grid) 6) Beyond Copper Side B features the ads themselves, presented faithfully as they appear on the Auralnauts Youtube channel.

***BACK IN STOCK ON ORANGE CREAM VINYL!!!

On Fire is widely recognized as the canonic pinnacle of Galaxie 500's career. The artwork conveys this, with a low-angle shot of the band, looking up towards an amber sky. This record marked the realization of their signature sound. Nowhere is it clearer than on the album opener, "Blue Thunder," the closest a song can come to waves crashing on a beach in song form. Lyrically inconsequential, with a chorus composed entirely of "la"s, the track's power lies in a systematic build and break of intensity that reaches a Spector-like climax. It is the quintessential Galaxie 500 song, encapsulating all that was great about the band. With the Boston trio once again utilizing the bizarre genius of producer Mark Kramer, On Fire sounds like anything but. The guitars are warm blankets enwrapping Dean Wareham's vocals, percolated by the open percussion of Damon Krukowski and anchored by the emotion-laden bass of Naomi Yang. Songs like "Snowstorm," "Strange," and "Decomposing Trees" have an endless quality, without beginnings or ends, but rather frozen somewhere on a spectrum of melancholy. For the first time since its original pressing, On Fire is available again on vinyl. Cut by vinyl ace Kevin Gray from a remaster by Kramer and Alan Douches, the album sounds more vibrant than ever, and Galaxie 500 exists again as one of the most enrapturing and glorious bands to emerge from the underground in the past 25 years.

The music industry, once revered as a realm of artistic expression and creativity, has gradually transformed into a breeding ground for commercial nonsense. The rampant commercialization of music has resulted in an environment where genuine talent often takes a backseat to profit-driven motives. It’s high time we unmask and challenge the prevailing commercial bullshit that plagues the music scene today.

In the midst of all this commercial nonsense, it’s essential to recognize that there is a thriving underground and independent music scene where authenticity and creativity still flourish. Listeners can play a vital role in reshaping the music industry by supporting independent artists, seeking out diverse sounds, and rejecting the homogenized offerings of major labels.

To combat the commercial bullshit in the music scene, we must prioritize artistry over profit, diversity over uniformity, and creativity over conformity. Only by championing these values can we hope to revive the music industry as a bastion of authentic expression and genuine talent, free from the shackles of commercial exploitation.

It has now been four years since our return to earth in "2020 back to earth". There we had found a cold and inhospitable place, humanity was inexorably channeled on the path to extinction. We therefore decided to flee immediately in search of another planet where we could dwell.
We therefore came to New Babylon, a planet inhabited by humanoids but also by monstrous and ravenous creatures. There are "giants" that march about raising immense clouds of dust, stealing and plundering everything from people. Giants much like our corporations, they know no defeat and have no weaknesses, at least apparent ones.
There are old warriors like jarek who wait for war to feel like heroes, to feel alive. They find their dimension within the battle, where the line between hero and assassin magically blurs.
There are pyramids erected by men who think they are gods and turn the things life gives them into weapons and death, changing their use and meaning. Little men who think themselves omnipotent, burying knowledge of how life works under piles of lies.
We find a myriad of slaves, surrendered to live in huge troughs. They toil at nothing and find meaning in nothing. They prefer a convenient lie to an inconvenient truth.
In short, we realize that we have arrived in a world very much like earth. We are aliens but in a certain way we feel at home. We want to know, to understand, to evolve. We don't recognize ourselves in this deceived humanity, we don't give in, we believe. Nature, life is wonderful but when one thing loses its usefulness life gently explains to it that it is time to make room for something else. This existence has already explained to the dinosaurs.
Kayleth continue their journey, never stopping because who seeks will find itself.

"New Babylon ranks next to Space Muffin as Kayleth’s best album for me and one that contains some of their best grooves of their career to date." - Outlaws Of The Sun
"Sit down and really take in We Are Aliens as it’s a joy to listen to, but are the aliens we think exist, just like us? Let Kayleth take you on their journey of discovery." - The Sleeping Shaman
"On this album the Italian five manage to translate heroism into wild and wonderful sounds, often sounding even more like a grungier, metal version of Monster Magnet, mixed with mix a definitive love for Kyuss, Orange Goblin and a prog rock outfit like Riverside." - Stoner Hive
"It’s a call to arms for the dreamers and the rebels, a reminder that no matter how dark the journey, there is always light to be found. This album is a must-listen for anyone into psych stoner rock!" - Witching Buzz
"New Babylon is a triumph. It’s an album that demands to be listened to in full, each track a journey through heavy riffs and cosmic themes." - Iron Backstage
"Listening to a piece like 'New Babylon's Wall,' you can appreciate the richness and sonic fertility of the group, with beautiful melodies enriched by the right amount of electronics, starting from a psych conception of the stoner sound, and there is no lack of prog elements, all with beautiful melodies. As mentioned earlier, a sci-fi band in both approach and essence." - InYourEyesEzine
"KAYLETH doesn't reinvent anything, but they absolutely crush it by the rules!" - Rock'N Force
"Stoner rock has rarely sounded as original, diverse and intoxicating as it does here!

Caroline Says' haunting new album, The Lucky One, is a poignant exploration of how the ghosts of past relationships linger, sometimes holding more sway over our hearts and minds than our current connections. We revisit these ghosts through evocative landscapes of our memories - hometown bars, road trips, and late-night swims. Through a series of fractured and persistent memories these songs capture the bittersweet realization that the past, though imperfect, can sometimes be a more comforting and meaningful companion than the present. Opening track, "The Lucky One," confronts death's role in shaping our memories head-on, as it ponders the way death freezes a person in time, forcing us to confront the complexities of grief and its lasting impact on our relationship with the one we lost. Other tracks delve into the complexities of relationships that naturally grow apart as life takes us in different directions. For example, "Faded and Golden" reflects on the bittersweet nature of reunions with old friends, where the idealized memories of youth can clash with the realities of the present. Then, "Actors" takes this a step further, acknowledging the influence of perception and desire in friendships, and the idea that in many ways "all friendships are imaginary friendships," as it confronts the disappointment of inauthentic connections, and the facades we sometimes put on in relationships. "Roses" began when Caroline was looking through her grandma's collection of commemorative Kentucky Derby glasses, each one etched with the name of a winner. The song delves into the story of "Sunday Silence," the horse that won the year Caroline was born. Researching the horse's journey from near-Triple Crown glory to retirement in Japan sparked a metaphor - a pressured being (the horse) desperately trying to please but ultimately disappointing. The owners eventually selling the horse becomes a relatable symbol of unmet expectations, and the sting of falling short despite our best efforts. Album closer, "Something Good," revisits Caroline's Alabama childhood. Lost on a recent trip to Birmingham, unable to find the familiar path to a riverside hangout, the experience becomes a powerful metaphor; we can't always retrace the paths in our memories, but those memories, however unreliable, continue to shape us. In the end, The Lucky One celebrates this enduring power, acknowledging how past relationships and experiences, even those lost to the haze of time, continue to inform the stories we tell ourselves, and the way we navigate the present.

Coke Bottle CLear Vinyl. The breakout success of 2016's Puberty 2 saw Mitski hailed as the new vanguard of indie rock, the one to save the genre from the white dudes who've historically dominated it. But the often overlooked aspect of being a rising star is the sheer amount of work that goes into it. "I had been on the road for a long time, which is so isolating, and had to run my own business at the same time," Mitski explains, "a lot of this record was me not having any feelings, being completely spent, but then trying to rally myself and wake up and get back to Mitski. I was feeling really nihilistic and trying to make pop songs."We want our artists to be strong but we also expect them to be vulnerable. Rather than avoiding this dilemma, she addresses directly the power that comes from appearing impenetrable and loneliness that follows. "With a lot of the romantic infatuations I've had," she says, "when I look back, I wonder, Did I want them or did I want to be them? Did I love them or did I want to absorb whatever power they had? I decided I could just be my own cowboy figure that I so desire." In Be The Cowboy, delves into the loneliness of being a symbol and the loneliness of being someone, and how it can feel so much like being no one.

SITW’s fourth studio album is a satirical celebration of mistakes. A joyous lambasting of everyone and everything that’s wrong in the world, against the real-time backdrop of global uncertainty, corruption and political unrest.

A London Charivari. Rough Music. A gleeful old-fashioned cancelling. A Chaunter’s delight. 14th Century recording demons collecting mistakes in a sack. Women mugging rich merchants. Nettles being pissed on. Shit food at Lent. A terrible plan. An undoing. The aftermath of a car crash. Catching people doing something they shouldn’t. Nursery rhymes reimagined as death threats. Behind the sarcastic acerbic delivery, Nicola Kearey and Ian Carter convey thoughtful, essential interpretations encouraging us all to check ourselves, through the multi-layered music of cities through time.

This is about as far away from pastoral folk music as you can get.

In their typical wry city-weary style, a beady eye is cast over those committing wrongs in plain sight, with Kearey narrating a series of tales of people fucking up, or being fucked up, with some brief respite in Lavender - one of London’s oldest street melodies - the album being named after the 14th Century story of Tittivilus, the recording demon, who collects scribes’ mistakes (pokes) and the idle chatter of the “liars with their hairy tongues” congregation.

Despite this seriousness, the album’s working-class dry gallows humour carries a stoic “if you don’t laugh you’ll cry” feeling amongst the corruption, scandals and barefaced lies we all observe on a daily basis, with a warning that “only you can fix your deficits” and “it’s your words and deeds that matter…and let me tell you, they speak volumes”.

The core of the record imagines a sound of traditional London music, where the musical continuum is unbroken by the population decimated by the world wars, or by gentrification and social cleansing that has forced communities apart, and yet absorbs all the influences of all the communities that call London their home.

Carter and Kearey attempted sessions at The George Tavern, Whitechapel, and in Spitalfields, at Denis Severs’ House, and a restored weaver’s townhouse, carrying the aesthetic of the record in their heads as they moved from location to location, before settling into an old factory building and their own workshop. The resulting sparse and economical sound is harsher, more present, more essentially them. It is a mighty haranguing that demands your attention.

'Celebration Of ignorance' is the third full length studio album of Tripped.

A nasty collection of heavy kickdrums including a collab with the RABBeAT & Doormouse + A remix of a legendary Celsius track.

ALBUM NOTES:
While humanity seems to get more stupid over time, (blame social media brainwashing & misinformation)
It is tough to deal with life and everything that comes on our path in general.
The intention of this album as always, is my creative outlet.
I do hope however that it can help you to place some emotions and let go of some frustrations.

This one is for the real people. People who dance like no one is watching with nothing but a smile, the dreamers, the eccentrics and outcasts who care about the world and aspire to be better every day.

Ignore the fakes and forget the digital word for a while & listen to some gabber kickdrums.

Ren Schofield’s long running electronic project Container returns with his first release since the Creamer EP in 2021. Rolling straight out of the pandemic Schofield has since played a large number of live shows all over the planet, rilling up audiences with a heady mix of method and mania. Now is the time to unleash a new studio offering.

Yacker presents what is undoubtedly an electronic record but one imbued with a spirit more aligned with rock music. Always hijacking the electronic music scene for his own unique and twisted path here we see a further extrapolation on his original blueprint for DIY noise techno adding a more physical and muscular edge to the standard hysterical proceedings. The drums retain an almost human, somewhat muscular feel with a sweaty and suggestive ‘real drums’ feeling.

Schofield cites inspiration on Yacker as the Nirvana song ‘Oh, The Guilt’, the Mindflayer album ‘It’s Always 1999’, and the Rah Bras song ‘Sooop Toe Pump Girls’. Container has always danced the absurd space between serious and stupid, with Yacker all elements are turned up to eleven as he delivers a pristine field guide to furious frenzied fun.

Yacker strikes an even balance between heavy, relentless, joyful, silly, and sloppy. Think Lollapalooza 1996 held at Berghain 2006 and you are somewhere on the way to formulating this fresh new insanity from one of the contemporary electronic music scene's more playful pioneers

blue marbled vinyl

Nuron continues his journey on De:tuned with another selection of unearthed DAT tape gems! Nurmad Jusat aka Nuron / Fugue moved to the UK in the mid 80s. Soon after he went to his first warehouse party. A real eye-opening experience that inspired Nurmad to produce his own music. The first wave of early house and techno records from Chicago and Detroit influenced an entire generation. Nuron became one of the originators of the UK emotive techno sound with his unique and distinctive style. Fast forward a couple of years to when this compilation of archived DAT tape material was recorded. In the late 90s Nurmad was living back in Malaysia. House music was just starting to be played in the underground clubs over there. It was a great time and the vibe was very much like when Nuron went to raves in the UK in 1989-1990. House music all night long!
Al White created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!