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Produced by is an EP featuring original songs created by Adrian Younge featuring talented artists Black Thought, Estelle, Gallant, Georgia Anne Muldrow and Terrace Martin. From Younge's perspective, each of these songs collectively celebrate the spectrum of black music and were intentionally created for Black History Month. Recorded and mixed by Adrian Younge at Linear Labs, the preeminent analog studio of Los Angeles, CA.

Having been dormant for over three years, New York label Satamile returns to continue spreading the gospel of proper electro music with a six-track EP from The Ghost That Walks. Drexciya enthusiasts will be all over this record; the rubbery melody of "The Angriest Angel" recalls the Detroit duo at their most playful but with a simmering undercurrent of tension that is very much the producer's own signature style. Similarly great are the searing analogue synth buzz of "Seven Deadly Sons", the tribal 303 stomp of "Urban Jungle" and the 808 rattle and Belgian rave tones of "Resident Evil". Those who were lost without the label's presence should rest easy - Angry Angels is easily among their extensive catalogue's best releases.

Hailing from South Korea, the mind & body trained on the raves of Seoul, and across the country we have Jesse You. The gifted producer has embodied 3 original cuts which are showcasing a hefty range of electronic sound. Describing it using standard words would be too banal, so would prefer to say it is interstellar, from dark to funk and served at absolutely correct temperature. Because it is important not to melt the vinyl but to melt the gooey part inside the head. Jesse is no stranger to sound production and have proved this with “Tone Select” a disc that requires shoes which can stand the test of time on the dancefloor.

On the remix duties its Z@P, resident of many prestigious electronic music communities all over the world and one of the hardest working producers of our time. He has applied a deep burner vision on the original track which allows to dissolve in space time continuum given a correct, as well as an incorrect setting. This 12” Vinyl performs many tasks, some of those you know and some of those you have yet to discover, just select the tone.

2024 reissue

Toothpick aka Swirl People step out with their newly entitled label Lost In The Swirls, which they have distilled to the more simple name L.I.T.S. Records. The Belgium-based project is an alias of Dimitri & Raoul and they bring fresh house sounds here even though this is a reissue of some classic 90s material. The title track has lush and bright summer pads over driving, tight kick drums. The opener 'May The Funk Be With You' has a classic UK flavour to it with woodpecker-like hits and dusty drum loops under some smart chord work. Last but not least is 'Naked Speedway' which has a warm bassline meandering below expansive chords that bring an early morning vibe. Good stuff.

ØXN pron. ox-en exist at the uncharted intersection of its constituent parts, melding Lankum’s experimental doom folk (Radie Peat), the motorik euphoria of Percolator (John ‘Spud’ Murphy’ & Eleanor Myler) & Katie Kim’s glorious Lynchian meta-verse. They create a peerless new sound which exists somewhere between the traditional, the future and the eternal. Try to imagine the missing link between Enya, Ennio Morricone, Richard Dawson and Neu! And then add a pinch of something you never thought of and you’ll start to have a sense of this gloriously unique sonic universe which ØXN inhabit



What began as a side project duo between Radie Peat & Katie Kim in 2018, blossomed into a full-on multi-textured tapestry, with the addition of Myler & Murphy during lockdown. This resulted in one of the streaming highlights of the Covid era with an unforgettable live performance from a Martello tower in Dublin in conjunction with visual artist & Lankum collaborator, Vicky Langan. Now they are set to release their highly anticipated debut album CYRM.



CYRM pron. sy-rum was recorded by Murphy (Lankum/Black Midi/Junior Brother) at the Hellfire Studios in just 5 dizzying days in 2022 and set for April 2024 release on the relaunched & rejuvenated Claddagh Records

Elaine Brown has led a life of distinction. Appointed in August 1974 by Huey Newton from his exile in Cuba to be the one and only female leader of the Black Panther Party, Elaine has pursued a career of community service that continues to this day. But her debut 1969 album Seize the Time leaves one wondering what would have happened had she not put her musical career second. She was first discovered as a performer while singing Thomas Dorsey’s “Precious Lord” at the funeral service for Panther Bunchy Carter. Afterwards, Panther’s Chief of Staff David Hilliard had her audition for him accompanying herself on piano. That session led to her composition “The Meeting” (about an encounter with Eldridge Cleaver) being adopted as the Black Panther Party National Anthem, and an album was commissioned. Elaine enlisted Los Angeles jazz legend Horace Tapscott and his PanAfrikan Peoples Arkestra to arrange and back her, and Seize the Time was born—which the Black Panther Party’s newspaper called “the first songs of the American revolution.” Blending influences ranging from Bob Dylan to classical, and anchored by Elaine’s powerful delivery of her deeply-felt lyrics, this album will stir your blood whether you agree with its politics or not. Now, with the cooperation of Elaine Brown herself, Seize the Time sees its first-ever American LP reissue, complete with original “uni-pak” packaging featuring lyrics and liner notes, plus an insert with new liner notes by Pat Thomas, author of Listen Whitey! The Sounds of Black Power 1965-1975.Limited run of 950 copies in deep purple vinyl. SIDE ONE 1. Seize the Time 2. The Panther 3. And All Stood By 4. The End of Silence 5. The Meeting (The Black Panther Party National Anthem SIDE TWO 1. Very Black Man 2. Take It Away 3. One Time 4. Assassination 5. Poppa’s Come Home SELLING POINTS • Elaine Brown Is an Activist First and Musician Second • But Her 1969 Debut Seize the Time Shows Things Could Have Gone the Other Way • She Was Appointed in 1974 by Huey Newton from His Exile in Cuba to Be the One and Only Female Head of The Black Panther Party • She Has Pursued a Career in Community Service That Continues to This Day • First Discovered as a Performer When Singing Thomas Dorsey’s “Precious Lord” at the Funeral for Panther Bunchy Carter • Then Panther’s Chief of Staff David Hilliard Had Her Audition for Him Accompanying Herself on Piano • An Album Was Commissioned, and Brown’s “The Meeting” (About an Encounter with Eldridge Cleaver) Became the Black Panther Party National Anthem • Seize the Time Was Arranged by L.A. Jazz Legend Horace Tapscott, and Features His Pan-Afrikan Peoples Arkestra • A Unique Record Featuring Influences Ranging from Dylan to Classical, All Anchored by Brown’s Impassioned Singing and Deeply-Felt Lyrics • First-Ever American LP Reissue • Includes Original Uni-Pak Jacket with Notes and Lyrics • Also Contains Insert with Notes by Pat Thomas, Author of Listen Whitey! The Sounds of Black Power 1965-1975 • Deep Purple Vinyl Pressing • Limited to 950 Copes • This Release of Seize the Time Is Fully Authorized by Elaine Brown Herself STREET DATE: MAY 3, 2024 (Limited Deep Purple Vinyl Edition) iBarcoder Trial ELAINE BROWN BLACK PANTHER PARTY BLACK PANTHER PARTY ELAINE BROWN VAULT

With 14 Academy Award nominations, seven Grammy awards, and an Emmy to his credit, Thomas Newman has a track record second to none among modern screen composers (and even among his family, which is saying a lot considering he is son to Alfred, brother to David, and cousin to Randy Newman)! But among all his Academy Award-nominated scores—to classics like The Shawshank Redemption, Wall-E, Finding Nemo, Saving Mr. Banks, and The Road to Perdition—his score to the 1999 Academy Award-winning Best Picture American Beauty (the first of his many collaborations with director Sam Mendes) remains his most distinctive. That’s because Newman made the bold choice of composing a score almost entirely with percussion instruments, brilliantly intuiting that the lack of melodic resolution in the film’s themes would echo and amplify what he termed the “moral ambiguity” of the script. The result was a haunting and wholly original film score that is instantly recognizable to anyone who has seen the picture. Real Gone Music is very, very proud to present this work of genius on blood red rose vinyl to match the original album art (here used for the first time on a vinyl release) and the film’s shattering conclusion!

Some albums are game-changers in a genre. Take OutKast's Speakerboxxx / The Love Below or Primal Scream's Screamadelica, they observe, study, and then flip what an album can mean to a genre or moment in time.

From the very first listen of Rubel’s Latin Grammy-nominated third album As Palavras, Vol. 1 & 2, you can feel its transformative force for the MPB genre. Here we see one of Rio’s brightest stars, fusing the contemporary with the classic, soaking up the richness of Brazil’s musical heritage. The result is a marauding 20-track epic, incorporating traditional styles such as forró, MPB, pagode and samba with modern baile funk, rasteirinha and hip-hop.

The album exudes a sense of freedom and creativity, playfully and provocatively juggling the familiar with the forward-thinking. The tracks are divided across two records, navigating feelings of love, heartbreak and discovery, whilst balancing themes of violence, passion, irony and affection. Collaborating with some of the country’s most esteemed artists such as Gabriel do Borel, Liniker, Luedji Luna, Tim Bernardes and Ana Caetano, Rubel takes this fusion of styles, subjects and flavours to the global stage.

The grand, forró-blending, choral opener, ‘Forró Violento (Instrumental)’ sets the tone for the album, with references and links between tradition and modernity everywhere to be seen. From the Ana Frango Elétrico produced, funk flexing, samba-soul brilliance of ‘Não Vou Reclamar de Deus’, to the album’s title cut ‘As Palavras’, in collaboration with Tim Bernardes, that melds MPB influences with electronic elements and hip-hop touches.

Across both sides of the album, Rubel’s story-telling gift is given space to shine. ‘Torto Arado’ featuring Liniker and Luedji Luna, beautifully references the racial injustice, tragedy, hope and ambition found in one the most celebrated Brazilian novels of recent times by Itamar Vieira Júnior. Elsewhere, ‘Na Mão do Palhaço’ manifests a satirical march about a suicidal conservative middle-aged man, who is rescued by the miracle of the carnival.

At times the album is gentle and intimate with tracks like ‘Toda Beleza’ featuring Bala Desejo, or the ode to friendship ‘Lua de Garrafa’, composed with the legendary Milton Nascimento. At others, the grooves hit harder, with sounds from the favelas laced within. ‘Put@ria!’, explores the universe of baile funk, with BK’ and MC Carol trading off on the mic, as ‘Rubelía’ moves between reggaeton, funk, and hip hop. The latter is a tribute to a key influence of the album, Spanish star Rosalía and her parallel mix of current with classic.

Ultimately though the beauty of this album lies in its concept. In the midst of a country divided, ‘As Palavras Vol. 1 & 2’ sets out to bring together genres and generations, grounded in rhythms and words that have helped define Brazil through the ages.

Lonnie Liston Smith and the Cosmic Echoes’ groundbreaking albums for Bob Thiele’s Flying Dutchman label don’t get the attention from jazz fans that they should. In fact, among the many distinguished alumni of Miles Davis’ fusion bands, keyboardist Smith and his cohorts arguably ran with Davis’ stylistic breakthrough the farthest. In five albums stretching over four years, Smith and the Cosmic Echoes stretched the fusion aesthetic to embrace post-bop modal and spiritual jazz, funk, rock, pop, and even the smooth jazz, quiet storm, and crossover genres. And if those latter styles raise your traditionalist hackles, Smith imbued all of his records with integrity, vision, and his unique spacy sensibiity; instead of playing it safe or commercial, he fearlessly paved a path for modern jazz musicians to follow (Kamasi Washington, for one, no doubt listened to these records at length). Real Gone Music is proud to present Lonnie Liston Smith’s first two records as a bandleader inside their respective original gatefold jacket artwork… soulful, spiritual, life-enhancing music!

7th (2007) studio album from Swedish Melo-death Kings with Devin Townsend producing the vocal tracks.

This collaboration is full of synchronicities that go all the way back to 2020, when The Galaxy Electric (Jacqueline Caruso & Augustus Green) started conjuring the melodies and arrangements for this project - without knowing what it would be for. Their obsession with Retro Sci-Fi films & TV shows was thoroughly indulged during the COVID lockdown: "It was our “escape” out of reality. Shows like The X-Files, Dr. Who, and movies like Forbidden Planet and Clockwork Orange were our strange bedfellows guiding us to create music like we’d never made before." The result was a mix of electronica, psych pop and retro-futurism blending together to form music fit for the Korova Milkbar. As they emerged from this cocoon of sci-fi isolation, Jacqueline & Augustus began reaching out, connecting online with other obsessives: "Through our shared love of BBC Radiophonic Workshop Sound FX Records, we connected instantly and deeply with Drew Mulholland. Across time zones and land masses, our connection sparked creative collaboration like we’ve never known, and this new project was re-born. We knew in an instant that those forgotten ideas were meant for this moment. And thus began the files flying back and forth - until the synchronicities became fully manifest into what is now Muzak for the Korova Milkbar..Drew may tell it differently, but the sense of nostalgia, deja vu & mystical connection remains the same. A project we could have never set out to produce on our own, and that was always meant to be created with Drew. A dream fulfilled."

Following on from his previous two KPM-esque library music releases for the label (Plastic Thought & Wyped Out) Debossed sees Howe ramping up his sound into more rhythmically expansive weirdo club-music territory, taking in everything from footwork, drum & bass, electro, juke and breakcore. The Japanese jazz inspired melodic phrasing is as present as ever, which is paired with affectionate nods to Dreamcast gaming & skate video soundtracks, making for a very fun, fresh and generous listen.

“A master of tricksy computer music.” - The Wire

“The return of Glasweigian, Joe Howe: a prolific noise maker who you may have otherwise known as Ben Butler & Mousepad & Germlin. He’s been doing wonderful things for many years and there’s a whole world of Joe Howe if you want to get involved!”. - Tom Ravenscroft (BBC 6 Music)

And once again with a reissue of a rare record that's highly sought after by collectors around the world. After the great undertaking we conducted with lost metal bands like CHILD SAINT and more recently with KNIGHTMARE II, it is with great pleasure that we bring you the first official reissue of TRAITOR and their mini-album "Shot Down"! All those who are familiar with "Show Down" know that it is impossible to remain indifferent to songs like "The Way It Used To Feel", "Have You Ever" or "Feel The Steel".

Formed in 1984 in Bellflower, California, TRAITOR began their short-lived career with the release of the one- sided flexi- single "Feel The Steel" that same year. In the following year, they would release the mini- album "Shot Down" containing a total of five original songs, which takes us unquestionably to the best US Metal made independently in the 80s. We are delighted to bring the first ever official reissue of "Shot Down" on vinyl.

A limited edition with the quality that Lost Realm Records has accustomed you to. With a total of 12 tracks, this reissue will feature the 5 songs from the original "Shot Down" version released in 1985, as well as an alternative mix version, never released before! All tracks fully remastered for the best sound experience.

Ollie Spalding and Jack Watts were friends first, and songwriting partners second, and this quality sets them apart. They're marked by that peculiar alchemy when two voices become one, a special sense of human connection wrought through harmony and emboldened with experience.

New album 'Redsetter' is their coming- of- age moment - gilded indie- folk with an optimistic sense of maturity, it dares to look towards the light. "We had literally no idea what was gonna happen!" Ollie gasps when looking back on the pair's self-titled debut album. Sculpted over the pandemic and released on Real Kind Records - the boutique Communion imprint chaired by Lucy Rose - the record displayed their core values. "The emotion has to be right," says Oliver.

"When we record songs, we want to stay true to the emotion - as though those songs had just been written seconds before they were recorded." The success of their debut brought fresh experiences - writing with Flyte, collaborating with everyone from Matthew & The Atlas and Victoria Canal to Talos and Olafur Arnalds - but also new challenges.

New LP 'Redsetter' takes them from their base in Brighton to a remote part of Texas (and back again); it's a record that's driven by a special kind of determination, dealing with intimate bonds, familial connections, and a quiet sense of renewal. Looking for perfect moments within our imperfect lives, Memorial have displayed extraordinary sense of character to drive themselves forwards. "We've let go of trying to make everything sound perfect," says Jack. "Being vulnerable in that way means that the end product is truer to you than it ever could be. There's a realness to it." Memorial have taken true ownership of their lives, pushing through enormous challenges to unlock new aspects of their artistry, and actualise their dreams.

The formation OREGON has surely been well- known to most jazz and classical music enthusiasts.

During the past 50 plus years of band history, OREGON has become a synonym for genre-crossing music of the finest. Emerging in 1970 from the legendary Paul Winter Consort, OREGON, right from the start combined elements of jazz with those of symphonic classical music and what is known today under the makeshift term "world music".

If one takes into consideration that integrating musical elements from non- "western" cultures wasn't exactly common back then, this band's pioneering status is all the more clear.

Though their album was cut in two days over the course of 2 eight hour sessions their arrangements shine through what was a scattered recording session. "We really worked hard in the studio even though we didn't have enough time to do all the things we wanted to do with music," bassist Robb Murphy remembers. "We were pretty excited. We just had no experience with that sort of thing. We had heard things but never had any experience.

We were really babes in the woods. It was a terrific experience looking back on it. It was really a hell of a lot of fun, we loved the idea of being able to overdub even though we didn't get to do too much of that, it was still fun. That was pretty high tech in those days, being able to lay down a couple of tracks with your voice." guitarist Mike Barnes recalls.

Similar to the Bosstown sound (Orpheus, Ultimate Spinach), Tiffany Shade lean towards harmony-driven vocals that combine their clever pop sensibilities with a versatile showcase of keys, organ, and scintillescent guitars. After their album's release in '68, they had the opportunity to open for Big Brother & Holding Co., but because of poor sales (and like many Mainstream artists) the band didn't last and went their separate ways in '69.

This country-blues psych album was originally released near the end of 1970, and though it was their sole album, December's Children are a good example of how music was changing between the end of the '60s and beginning of the '70s. Accented by psychedelic keys & organ (especially in "Trilogy"), it's been described as Texas garage rock, with funky, hook driven guitar - particularly in "Sweet Talkin' Woman" and "Last Monday Night."

It's the one all the massive have been waiting for! Part 2 of the Salford sage - DJ Absolutely Shit's 'Memoirs Of A Crust Monster'. More hyped up tear outs, soundsystem ruffage, and bass 'n breaks love songs from our Hell's Angel-dodging beat freak.

Kicking things off with glowing neons and super-charged subs is 'Higher', a modern jungle monster decorated with classic hip-hop samples and a well known diva vox squealing through the melee.
A serious 'watch your bassbins' track - RL HQ have safety tested this on the most robust car stereo systems and so far have yet to avoid any cabinet damage - proceed with caution!

'Lost In Space' rolls outta the speaker stacks with a b-boy swagger and loose breaks. A tribute to classic breakdance electro galvanized with Ab Shit's intricate trademark production chops. You'll want to crack out your finest red Puma classics and a slick tracksuit for this one.

Onto 'Out On Love' and between you and me, someone needs to call the social service for samples - as it's unlikely you'll ever witness a more blatant case of sample molestation. Squeezing every last drop out of a catchy piano lick, TV snippet and drum break; the track really does highlight the unrivaled programming prowess of our Irlam renegade who's taken SP1000 trickery to its absolute zenith.

'Money Talks' sees our cheeky ragamuffin dictate a life affirming sunrise over Pomona - pre-gentrification of course; a thousand smiles and memories of old Mancunia shimmering in the early morning industrial haze. And an abject slight at those who put profits above people - another poignant ode to our changing cityscape driven by the most addictive boogie-based groove and clattering Linn drums.

Spine-tingles and fanny flutters guaranteed ALL DAY on this one cru!
Look out for the full 16 track album due on C90 cassette and digi download coming very soon...

RL x

“I wanted to try and showcase as many people as I knew on this mix. My idea of Late Night Tales was to distil a series of relaxing moments; the whole conceptual sonic of relax- ation. So, I was trying to think of all the collaborators and friends that I knew, who’d recorded stuff with this horizontal vibe. Plus, I was also trying to help my friends' stuff get into the world. I know the story of Khruangbin blowing up after appearing on the series (in fact, I think that's how I discovered them). So, the main idea was to create a certain atmosphere, but also to help some of my favourite collaborators and bud- dies to give their songs a little push out into the world. Hope you like it” Jordan Rakei



Due for release on 9th April, Late Night Tales celebrate their 20th anniversary with the release of multi-instru- mentalist, vocalist and producer Jordan Rakei’s majestic compilation. The 28-year-old modern soul icon effortlessly stamps his own jazz and hip-hop driven sound all over this gorgeous array of handpicked tracks. A beautifully layered blend that is mirrored in the music he’s made, itcomes as no surprise that such a supremely gifted songwriter should deliver a mix that is all about the song.



Rakei, born in New Zealand, but raised in Australia, moved to the UK in 2015; he released his debut album, Cloak, with Oz label Soul Has No Tempo, but his two subsequentLPs, Wallflower and Origin, came out on Ninja Tune, the former#2 in Album Of The Year for Gilles Peterson’s Worldwide poll, while Origin was nominated for Best Album at the AIM Awards. Jordan had this to say on his upcoming mix:



As Jordan says,there’s so much more to the song selection on Late Night Tales’latest outing than a random collection of artists. Many have some sort of personal connection, so just as Bonobo provided a platform for the breakout of Khruangbin on a previous LNT, this may have the same ef- fect for Rakei’s friends. After a soothing opener from Fink, good friend and big influence Alfa Mist (part of the Are We Live collective) delivers ‘Mulago.’ “I want to champion their sound and show the world how good he is, and I thought it’d be fitting to start the mix with family,” says Jordan.



Next up is Charlotte Day Wilson with ‘Mountains,’ followed by ‘Count A Heart’ from Moreton, an exclusive collab- oration with Jordan, who grew up on the same street in Brisbane, Australia. “She was the first artist I ever collabo- rated with, and one of the first artists to be involved in mycareer,” he explains. Elsewhere we hear Scottish producer and multi-instrumentalist C Duncan’s haunting ‘He Came from the Sun,’ Barcelona collective Oso Leone deliver a dreamy ‘Virtual U’ and Bill Lauren’s ‘Singularity,’ which evokes a striking sense of time and place.



Snowpoet’s ethereal ‘Evitenity’ is a “long mediative nar- rative over a beautiful soundscape,” which at times seems chaotic, nicely juxtaposed with undeniable beauty, and Maro’s kooky songwriting shines on ‘Always And Forever.’ Long-time buddy Armon-Jones contributes ‘Idiom,’ and Jordan’s exclusive cover version is a two-for-one, Radio- head’s ‘Codex’ merging with ‘Lover, You Should’ve Come Home’ by Jeff Buckley and another exclusive,original com- position by Jordan, ‘Imagination.’ The latter works as a piece with the spoken (Spanish) word voiced by movie director Alejandro González Iñárritu (Babel, Birdman, and The Reve- nant,) who is a big fan of Jordan’s. “He messaged me when I went to L.A and asked to come to my show. I was in such shock and we hung out after. I thought it would be nice to get him to do this in his native tongue, because I don’t think that’s been done yet on the series.” It certainly is a familyaffair. Not theblood is thicker than water kind, but certainly musical kindred spirits.

Since releasing on Reinforced at the age of 16, Dominic Stanton has always remained one of most influential producers in the west London broken beat scene. Those early adventures via numerous successful aliases laid the foundations for Dom's sound, eventually leading to the launch of 'Sonar's Ghost' in 2013.

Welcoming Sonar's Ghost to Metalheadz is now long overdue, so it's a pleasure to be showcasing 'The Fall and Rise Of...' as part of the Metalheadz Platinum series this July. Consisting of 5 collabs, 4 of them making the vinyl cut, the release draws inspiration from the rich heritage of jungle and breakbeat, effortlessly weaveing together intricate rhythms and immersive textures. Outrage & Scale feature on 2 tracks each, whilst Acid_Lab also gets in on the virtual collaboration bringing together a complimentary selection of styles.

Warehouse Find!

Eddy & Dus are long standing and highly respected Croatian DJ and production duo Eddy Ramich and Zvonimir Dusper. They've been responsible for many classic remixes on labels such as Compost, Especial and Schema but after a long hiatus we're happy to say the boys are back, on their best form yet and now we can present to you the mighty A From B.
In its original form A From B is some kind of mutant afro techno
deep house jam that could probably only ever be conjured up in
Zagreb. It's almost as if all those incredible festivals that
dominate the Croatian coastline every summer have spawned their own new genre of house music where tropical beats clash with classic techno and blunted jazz sits right alongside the deepest disco. A From B could be seen as something of a flag-bearer of this genre- bending antics, evoking images of packed dancefloors dancing under the starry skies in the warm night air. Or something. Who better to take on the remix than one of the masters of true deep and soulful house, Osunlade himself. Knowing a thing or two about delivering legendary DJ sets at Dalmation festivals his Yoruba Soul Remix drips with the kind of musicality and integrity that many can only aspire to.
Finally we have a brilliant dub version of the original, going
heavy on the beats, keeping things tribal and hypnotic for those
heavier moments when all you want is to get locked into the groove.

Warehouse Find!

With Manuel Tur's Es Cub LP just out and winning high praise from all corners of the electronic music press we present you DJ's and vinyl aficionados with the second part of the two separate 12's highlighting Manuel's brilliant third album. As RA put in their review - 'This is among the most seductive collection of house tracks so far this year.'

In 2012 Manuel spent a year living in Ibiza, the birthplace of his father and somewhere he has always felt a strong connection with despite never having lived there. This period became something of a sabbatical, a year of orientation both privately and musically and despite managing to visit not one single club in his
entire time there the esoteric and cabalistic nature of the island clearly became a big influence.
Here in Part 2 things get off to a suitably raw and bumpy ride with El Soplo where a depth and certain majestic beauty are created from the simple, stripped back, rolling beats and flowing pads. Flux takes things in a more minimal direction with echoing percussion hits and plucked synth line giving a sense of space, the driving, the single note bass reminding us of the more techno side of say Ame or Baikal. Flipping over we have Basilia which picks up the tempo and pushes a single reverberating vocal hit to the front of the mix before we are introduced to the glassy chiming arpeggiations that have become Manuel's signature sound for this LP. Finally, El Dub goes for a subaquatic vibe with a slow pace and dubby FX allowing us to get absorbed in the foggy haze Manuel creates with his thoughtfully conceived
minimalism and minute attention to detail. Expect to be hearing much more from Manuel in the coming months. He has become
in demand for his mixing skills, working regularly with Andre Hommen for Objektivity, Shit Robot for DFA and Marcus Worgull for Innervisions.

Bluesy rust-belt psych from Ohio's December's Children! Bouncing between male and female vocalists, tight harmonies, country flavor and rock 'n' roll style, their sound fit the transition between pop and heavy rock in the late '60s. Pressed on pink vinyl! This country-blues psych album was originally released near the end of 1970, and though it was their sole album, December's Children are a good example of how music was changing between the end of the '60s and beginning of the '70s. Accented by psychedelic keys & organ (especially in "Trilogy"), it's been described as Texas garage rock, with funky, hook driven guitar - particularly in "Sweet Talkin' Woman" and "Last Monday Night." Opting for a more straight forward rock 'n' roll sound, the band never considered themselves psychedelic (though that was being pushed at the time), and though they weren't as heavy as Blue Cheer, their country-blues sound is nearly a precursor to later albums by Savoy Brown and Blodwyn Pig

Following two acclaimed European and Asian tours, UK producer Tom VR returns to "all my thoughts" with a special vinyl release of his latest single, "Acheless."

The vinyl features the original tracks "Acheless" and "Couldn't Find the Words," plus a brand new VIP edit
exclusive to the format. This edit showcases Tom VR's signature sound: a tapestry of textured electronica that's both driving and dark, yet punctuated by flourishes of vibrant color.

While the original "Acheless" unfolds melodies within its framework, the VIP edit takes a different approach. Here, the focus shifts to the pulsing rhythm section, with the signature plucky melodies subtly restrained.

Audrey Powne's stunning debut album, From The Fire, is set to be one of those must have LPs in any music lover's collection. Something of an auteur release it features nine tracks all composed by Audrey, with all string arrangements and all produced by her. Audrey's decision to produce the whole album herself came from a desire to take creative control of her music and apply techniques developed from the influences of the producers she had previously worked with. If all of the above were not enough Audrey also wrote the lyrics for those tracks on which she sings, and as a multi-instrumentalist contributes piano, Rhodes and organ. She also features as a trumpeter with dextrous and soaring solos as evidenced by the two single releases so far; Feed The Fire and the title track, From The Fire. Due to be released by BBE as both a vinyl and on digital From The Fire is an album of Soul-Jazz with a serious environmental and social messages as well as one which blends classical music, hip-hop and influences from Roy Hargrove, Bill Evans and Herbie Hancock. Indeed it is Roy Hargrove's studio techniques evident in his work with the RH Factor that Audrey credits as a major factor in her producer role here. As well as her solo work, Melbourne born Audrey Powne has also worked as a session player with acts as diverse as Maceo Parker, Midnight Oil, Jimmy Barnes, Masta Ace and the Grammy nominated band The Teskey Brothers. With testimonies and positive reviews from Gilles Peterson, Earmilk, Bandcamp Daily, tracks on the Sunny Side Up compilation and performances on Boiler Room Audrey Powne is a supreme talent whose star is on the rise. From The Fire is destined to become a future classic.

Celebrating a decade of hip-hop excellence with the 10th Anniversary Vinyl Reissue of Statik Selektah's groundbreaking album, Extended Play. Pressed onto high-quality vinyl and housed in a silver laminated jacket, this limited edition reissue pays homage to the timeless collaboration between the legendary producer and some of the finest wordsmiths in the game.

Extended Play showcases the essence of authentic hip-hop, seamlessly blending old-school vibes with innovative production. Featuring an all-star lineup of rap luminaries, including Action Bronson, Mac Miller, Joey Bada$$, Sean Price, Raekwon, Black Thought, Prodigy, Evidence, Termanology, Posdnous of De La Soul and Talib Kweli amongs several others, this album is a masterclass in lyrical prowess and beatsmithing finesse.

Immerse yourself in the artistry of Statik Selektah as he crafts intricate beats that serve as the canvas for the lyrical dexterity of hip-hop's finest. Each track is a testament to the genre's evolution, capturing the essence of both its roots and its future. From the gritty realism of Sean Price's verses to the introspective musings of Mac Miller, every moment on this album is a revelation.

This commemorative vinyl reissue not only offers listeners a chance to experience the album in its purest form but also provides a glimpse into the collaborative spirit that defines hip-hop culture. The album cover artwork has been meticulously restored and printed onto a silver laminated jacket. Join us in celebrating the legacy of Extended Play and the everlasting impact of Statik Selektah's musical vision!

Mary Lattimore and Walt McClements are two of contemporary music"s most renowned innovators. Each has managed to expand the perception of their instrument"s capabilities. Lattimore inventive harp processing and looping has brought the instrument to a new audience. Her prolific run of celestial solo albums and evocative film scores have redefined the instrument in the modern consciousness. Her genre-agnostic collaborations include work with Kurt Vile, Steve Gunn, Jeff Zeigler, Meg Baird, and Thurston Moore. McClements, who tours as a member of Weyes Blood, is an acclaimed composer in his own right, sculpting glacial atmospherics from the accordion. The Los Angeles based duo became quick friends on overlapping tours, sharing both a drive to push the sonic possibilities of their instruments and roots in North Carolina. Mary Lattimore and Walt McClements debut collaboration Rain on the Road blossomed out of that time spent on the road together, capturing the liminal existence of touring life in deeply cinematic compositions. Recorded in the cozy setting of McClements" apartment during a rainy December in LA, Rain on the Road unfurls as a series of sonic vignettes, rolling landscapes hewn from longform improvisations for harp and accordion. Embellished with additional instrumentation such as the shimmering constellations of hand bells on "Stolen Bells" that glisten like lights on wet pavement, or the stately piano figures on "The Top of Thomas Street"; their pastoral pieces manage to paint vivid images.

On 'Mirror, Reflect,' Amy O returns to form as she documents her transition into motherhood in the early days of the pandemic. Initially conceived as a lo-fi endeavor to record songs made with friends in those days of uncertainty, 'Mirror, Reflect' is an intimate and exploratory work that weaves collected home and field recordings with shimmering synths and Oelsner's playful lyricism. A stalwart presence in the indie-pop underground since 2012, Oelsner shifted her approach to record making on 'Mirror, Reflect' to emphasize process over product, with the resulting songs born out of a myriad of home sessions, song-a-day projects, songwriting workshops and online collaborations. This kind of patchwork, home-spun approach was familiar to Oelsner, who made her name with her sparkling, homemade pop songs before releasing three studio albums, including her most recent album, 2019's Shell. 'Mirror, Reflect' gently shrugs off the sheen of those studio albums, as an early prenatal recording of Oelsner's daughter's heartbeat opens the record in the near-ambient instrumental prelude of "Honey" -- a wonderfully nuanced dispatch from the dog days of summer that's under-bellied by both the precarity and beauty of the early months of infancy and new motherhood. Oelsner's knack for finding magic in the mundane is also deeply apparent on "Dribble Dribble," where the stick-with-you nature of the playful rhyme schemes of the children's books that became a regular part of her literary intake are worked into a lilting reflection on resilience, destruction and loss. Oelsner's initiation into motherhood is inseparable from the poetic heart of 'Mirror, Reflect', but the album is also largely informed by the shifts in Oelsner's relationship to herself. Through playful and emotionally acute observations, Amy O turns the potentially contractive experiences of motherhood, isolation, family and aging into a freewheeling work where ephemerality and humor collide over her deft lyrical phrasing, musicality and her keen observations turned poetic revelations.

Mary Lattimore and Walt McClements are two of contemporary music"s most renowned innovators. Each has managed to expand the perception of their instrument"s capabilities. Lattimore inventive harp processing and looping has brought the instrument to a new audience. Her prolific run of celestial solo albums and evocative film scores have redefined the instrument in the modern consciousness. Her genre-agnostic collaborations include work with Kurt Vile, Steve Gunn, Jeff Zeigler, Meg Baird, and Thurston Moore. McClements, who tours as a member of Weyes Blood, is an acclaimed composer in his own right, sculpting glacial atmospherics from the accordion. The Los Angeles based duo became quick friends on overlapping tours, sharing both a drive to push the sonic possibilities of their instruments and roots in North Carolina. Mary Lattimore and Walt McClements debut collaboration Rain on the Road blossomed out of that time spent on the road together, capturing the liminal existence of touring life in deeply cinematic compositions. Recorded in the cozy setting of McClements" apartment during a rainy December in LA, Rain on the Road unfurls as a series of sonic vignettes, rolling landscapes hewn from longform improvisations for harp and accordion. Embellished with additional instrumentation such as the shimmering constellations of hand bells on "Stolen Bells" that glisten like lights on wet pavement, or the stately piano figures on "The Top of Thomas Street"; their pastoral pieces manage to paint vivid images.

MISSILES fire off their debut album "Weaponize Tomorrow" on Svart Records Malmö’s MISSILES are set to release their inaugural album, "Weaponize Tomorrow", on May 10, 2024, under the banner of Svart Records. The members of MISSILES are no new kids on the block. Coming from punk, rock, and metal, as well as surf and rather diverse backgrounds, they all answered to the call of their good friend Gabriel Forslund - sincerely interested in doing something new and exciting together. The band's trajectory began with a 7" single released by the Swedish label Fetish in 2016. Initially viewed as a project, MISSILES have organically evolved into a fully dedicated band with a laser-guided focus, causing shock waves in the underground with their jet-fuel genre-clash. Combining abandoned sounds with new inventions on “Weaponize Tomorrow”, MISSILES promises to both pat you on the head and stab you in the back, delivering a unique blend of post-punk with a touch of goth rock. The band’s lineup consists of: Gabriel Forslund (vocals and guitar) Jens Rasmussen (drums) Tobias Augustsson (synthesizers) Sebastian Gadd (guitar) Linus Larsson (bass) MISSILES claim their debut is a one-of-a-kind album, truly a loved bastard. ”Weaponize Tomorrow” will appeal to those who enjoyed the certain “je ne sais quoi” found in the New Wave movement, a line of thought that is liberating to hear today when artists go to the bank with a genre description. MISSILES couldn’t be bothered; it’s rock, it’s pop, its punk, it’s je ne sais quoi. Hard to pin down, but undeniable to freak out to, "Weaponize Tomorrow" is a high yield blast wave that will leave MISSILES hot on the tongues of those looking for a sudden and dramatic, incendiary kick. A gut smashing future shock that will resonate across diverse musical landscapes, “Weaponize Tomorrow” will be the perfect atomic cocktail for fans of Wipers, Dead Moon, The Birthday Party, The Gun Club and even modern iconoclasts Molchat Doma and Beastmilk. Keep your finger on the button for MISSILES‘ explosive debut out on May 10, 2024.

Yaya Beys neues Album ‘Ten Fold' knüpft an den kraftvollen Doppelschlag ihres 2022er-Albums, „Remember Your North Star“, und der Folge-EP, „Exodus The North Star“, aus dem Jahr 2023 an und ist ein frei gesprochenes und fließendes Selbstporträt, das von unmittelbaren Reflexionen über die Vergangenheit, Gegenwart und Zukunft geprägt ist. „Ten Fold“ ist vollgepackt mit den Nuancen von Yaya Beys Identität und den verschiedenen Facetten ihrer kreativen Bemühungen. Es richtet den Fokus nach innen und meditiert über ihr inneres Wesen, während es gleichzeitig Raum für den Humor und den bissigen sozialen Kommentar schafft, der ein bestimmendes Merkmal ihrer Arbeit ist.
Die als Hadaiyah Bey geborene Yaya Bey begann bereits im Alter von neun Jahren mit dem Schreiben von Songs und trat mit ihrem 2020 erschienenen Album, „Madison Tapes“, als neue Stimme in der Avantgarde der R&B-Storyteller:innen in Erscheinung. Ihre 2022 erschienene LP, „Remember Your North Star“ und die darauf folgende EP, „Exodus The North Star“, wurden vom Spiegel, Stern, Zeit Online, Rolling Stone Deutschland, Jazzthetik, Missy Magazine, Plattentests u.v.m. und im Radio von u.a. Deutschlandfunk Kultur, BR 2, Cosmo, ByteFM, RBB Radioeins und FluxFM sehr positiv aufgenommen, sowie international u.a. von der New York Times, Pitchfork, Rolling Stone, The Guardian, NPR, GQ, Crack Magazine, The Times, Clash ebenfalls hochgelobt.
Kürzlich spielte sie an der Seite von Immanuel Wilkins die Hauptrolle in einer Werbekampagne für die aktuelle Zusammenarbeit von Converse mit der New Yorker Marke AwakeNY. Bevor die in Brooklyn geborene Künstlerin offiziell das Jahr 2023 abschloss, spielte sie eine ausverkaufte Show im New Yorker SOBs für Spotify Stages und krönte damit eine Reihe von Live-Auftritten auf Festivalbühnen rund um den Globus in diesem Jahr, darunter Glastonbury, Pitchfork Festival in Chicago, Roskilde Festival in Dänemark und viele mehr.

Aerials live, dials tuned, Transmission Towers broadcasting. On either side of the river Mersey, transcendental communications are traded back and forth. Two late-night revellers, one firing messages filled with music, the other returning them laced with lyrics. The result, a dopamine hit of oddball machine soul, melded with a highlife, Afrofuturist touch. Wonky and murky yet deeply emotional, Transmission One, is a debut album that also marks the first release on Luke Una’s É Soul Cultura label, encompassing expertly the off-kilter atmosphere the label sets to orbit.

A synthesised landscape with a Northern charm, Transmission Towers marry the musical worlds of two artists that last collaborated over a decade ago. 10 years have passed, lives have been led, but a gravitational pull has placed Mark Kyriacou and Eleanor Mante back in each other’s spheres on opposite sides of the city of Liverpool. Energised with a newfound desire to strip it all back to the sounds that influenced their formative years in the late ‘80s and ‘90s - astral travelling, intoxicated on Motor City techno, Black Dog IDM and mystical Sun Ra.

Mark half Irish, half Greek Cypriot, Eleanor half Nigerian, half Ghanian, the music contained within is an alchemy of those roots and the pivotal acts that buried deep into their minds. A cosmic contrast, part machine-made, part distinctly human. Take the opener ‘UP’, an ESG-channelling, sci-fi punk beatdown or the polychromatic hyperspace anthem ‘Roller Skater 23’.

Transportive throughout, you ride the solar waves, pace and emotion ebbing and flowing. Tracks like ‘Go Slow Heart’ and ‘Cosmic Trigger’ step to a slower beat but hit with a punch. The former, a slo-mo blast of celestial tenderness, the latter an otherworldly, chugged-out lunar excursion, micro-dosing on whacked-out Wah Wah and Eleanor’s ethereal vocals. Beaming love letters to space and back, ‘Sparse’ marries the organic with the artificial, pianos and percussion circling around synth pads and broadcasting bleeps.

Elsewhere, vibrations move faster. ‘Mega’ strikes, fusing sonic tribalism with psychedelic swirls, as ‘Everything’ sweeps you up in its extra-terrestrial new wave grip. Synth stabs and basslines fizzing from every angle.

Demos of Transmission Towers music surfaced on Luke Una’s radar, making him stop in his tracks. Something magical was emerging, perfectly aligned with the E Soul guardian’s tastes. Guidance followed, quickly turning into conversations about Transmission One becoming the first release on Luke’s own label.

Escapist and futurist yet grounded and relatable. Transmission One is synthesis meets sentiment with a deep, spine-tingling soul at its core.

Geschmiedet aus demselben Sheffield-Stahl wie Def Leppard, entstiegen auch Crimes Of Passion dieser Stadt mit der Leidenschaft und dem Ziel, unseren Vorbildern auf dem Weg an die Musikspitze folgen. Eine Band, die das Glück hatte, die einflussreiche Ära von Dio, Ratt, Queensryche und Journey miterlebt zu haben, aber keineswegs zu sehr in der Vergangenheit zu stecken, um das Songwriting vom damaligen Emo/Metalcore-Sound beeinflussen zu lassen.

Es war offensichtlich, dass Crimes Of Passion das gewisse „etwas" hatten, denn innerhalb eines Monats nach der Gründung und dem Schreiben der Songs für das erste Album ging die Band auf Tour mit Bands wie Tyketto, White Lion, Great White, Gotthard und durfte auch bereits auf mehreren Festivals auf dem ganzen Kontinent spielen - die Stahlkugel aus Sheffield kam tatsächlich

One of the shining beacons of the UK post-metal scene, Bossk have steadily built up an unrepentantly loyal following since 2005. Before they reach the big 20, the band are taking this opportunity to take pause and reflect on their past and all the hard graft that has led them to become one of the most lauded bands in the genre. .4, the latest in a series of numbered releases that presents material outside the remit of Bossk’s full-length album output, is a celebration of those 20 years and provides an enticing aperitif for their 3rd album proper, to be released sometime in 2025. As is tradition with these numbered releases, .4 is not a Bossk album in the conventional sense, instead forging a more experimental path by presenting re-worked versions of some old favourites, as well as a smattering of re-recorded songs that only the most obsessed Bossk fan will be familiar with. One deciding factor that emboldened Bossk to celebrate their past is the amicable departure of vocalist Sam Marsh due to his permanent relocation to the United States. The band wanted to give Sam an epic recorded send-off and the colossal 13-minute Events Occur in Real Time provides a fitting farewell for the vocalist, who’s guttural razor-wire screams have provided tectonic shifting textures to the band since their inception in 2005. Acting as the centrepiece of .4, this is the first studio take of the song ever recorded, conceived as it was in 2008, just months before the band went on temporary hiatus.

Queer artist de clair’s anticipated debut EP & big emotional lead track ‘funeral’ is finally here. Her music has already been published by NME, lablogotheque, The Line of Best Fit & Clash, seen live before waterbaby & Augustine and in global playlists such as Spotify Fresh Finds - even though she’s only been around for a few months. Recorded w Jens Resch & Jonny Coffer (Lykke Li, FKA twigs, Beyoncé) in London and backed by All Stripes PR (Arlo Parks, Flume). Indie/Folk similar to Okay Kaya, Phoebe Bridgers, Hannes & First Aid Kit

Marewrew (pronounced: Ma-leoo-leoo / mɑleːul̯ eːu)̯ is a female vocal group that sings traditional Ainu songs. The music of the long-suppressed people from northern Japan has been a particular focus of Pingipung's output in recent years, together with Oki Kano who recorded and produced many Ainu artists. Following various re-releases by Umeko Ando, the late grande dame of traditional Ainu music, the spotlight is now on the a cappella music of Marewrew, which by the way means ‘butterfly’ in Ainu. Attentive listeners will recognise the voices, as some of the band have already performed as backing singers on recordings by Umeko Ando. Their a cappella versions of traditional Ainu music shed a whole new light on the fascinating songs that have been passed down through generations exclusively through song. 'Ukouk' means 'round singing', which refers to the form in which Marewrew perform and record. Many of the songs are set as tightly interwoven canons: one starts, the others join in, but slightly out of phase: Almost like dub echoes, except that they are sung and not created in post-production. The short songs sometimes unfold into a wondrous trance ('Sikata Kuykuy', 'Honkaya') that seems to spin round and round - if singing can actually dance, then this is how. Nature sounds and woodpeckers can be heard ('Hawsa’), and there is a funny miniature in which the ladies imitate birdsong ('Takuro'). Things get hypnotic with an evocative song about stranded whales ('Hunpe Yan Na’) or an ode to the Orca as ‘Little Sea God’ (‘Pon Repun Kamuy’). The album culminates in unexpected pop ('Yaykatekara') or cumbia moments ('Kanerenren') with a band line-up including percussions and Oki Kano on the famous Tonkori harp. Marewrew are Rekpo, Hisae and Mayunkiki. Rim-Rim was a member of the group until 2022. Mayunkiki reflects on the ambivalence of performing traditional music as a contemporary band: "When we first started performing, we all thought we had to perform in an Ainu way. But over time we have become more and more open to new ways of singing. I think if our way of singing is seen as the only, correct way of our tradition, then it won't spread, it's not alive. We like it when it's traditional, but it changes, just like our voices have changed over time.” * 'Ukouk' is a selection of Marewrew's work from the last 13 years, compiled from CD releases by Pingipung's Andi Otto. Oki Kano has contributed unreleased material and added new versions of the songs which had only been released in Japan. The album has been remastered by Kassian Troyer and is now available on LP for the first time.