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NOTON is pleased to announce the release of Xerrox Vol. 5, the final installment of Alva Noto’s Xerrox series.

For anyone who has been following the series since its inception in 2007, the concept of Xerrox no longer requires introduction. Originally, it aimed to create copies of images—both visual and acoustic—that are more memorable than the originals. The exploration of the relationship between the original and the copy, along with the invention of the copier, not only inspired the series name but also informed its underlying concept. In 2024, this series comes to an end, marking the culmination of a journey that began with the first recording in 2005/2006. Over nearly two decades, the five albums in this series have accompanied the artist's evolving perspective and conceptual approach.

Initially characterized by rawness and a conceptual focus on seeking resolution in white noise, the later works engage with themes of dissolution while shifting their emphasis toward acoustic particles. The copying process is now less visible through software manipulation; rather, it unfolds as the artist describes melodic and acoustic images that are then manipulated, copied, and transformed into new patterns during composition.

Nicolai describes this evolution as a journey encompassing buildup, exploration, and resolution, drawing parallels to the Odyssey and the stories of Jules Verne, particularly those featuring Captain Nemo.

The conclusion of this album holds a sense of finality for the artist. “I aimed to create a whole cycle of tracks that frame both the beginning and the end,” Nicolai explains. “The motif of the journey continues, but this time, the story reaches a dissolution through a conceptual object that embarks on its own journey into infinity. The word “dissolution” (“Auflösung” in German) is a wonderful concept. On one hand, you can solve a riddle, on the other hand, a pill can completely dissolve in water. Here, I am deliberately describing the process of dissolution.”
In crafting Volume 5, Nicolai has evolved his compositional process, eschewing samples in favor of original melodies. “This album probably took the longest to complete,” he reveals. “I first created melodic sketches, which became the foundation for the pieces. These recordings are created entirely from scratch. Based on these sketches, I constructed the process of copying, manipulating, and reshaping.”

Drawing from his recent experiences working with film and larger ensembles, Nicolai's approach to composition reflects a growing influence of classical instrumentation. “This experience of working with acoustic classical instruments has flowed into the compositional process for Xerrox Vol. 5. Certain instruments are designed with potential orchestral translation in mind.”

The sonic atmosphere of Xerrox Vol. 5 is one of profound dissolution. “I wasn’t initially interested in strong, emotional melodic aspects,” Nicolai shares, “but I realized that the fragment plays a central role.” This shift leads to an emotionally charged experience, imbued with melancholy and the bittersweet essence of farewell. The passing of Ryuichi Sakamoto, an admirer of the series, has further deepened the album’s emotional resonance.

“Xerrox Vol. 5 has a lot to do with farewell,” the artist explains. "Not only the farewell to the series itself, which I’ve nurtured for almost two decades, but also there have been many farewells to people who were close to me. I believe these people are recognizable in the music. It’s a very emotional, personal album.”

Listeners can expect a visual dimension to the music, though Nicolai intentionally leaves this open to interpretation. “I prefer to allow the music to evoke personal experiences and images rather than dictate a specific narrative,” he states. The result is a layered listening experience that invites tenderness and introspection.

The first eponymous album by Biglietto per l’Inferno, released in 1974, represents one of the most significant and influential peaks in the Italian progressive rock scene, a constant presence in any Italian rock records of all time “best of” list.

Anything related to this masterpiece has become iconic and timeless, from the cover image made by visionary photographer Cesare Monti to the album’s unique sound for that era, from the challenging and refined lyrics by the histrionic singer Claudio Canali, who later retired to a convent until his death in 2018, to the record company bankruptcy that caused the end of the band’s career after only two years, to a second album, “Tempo della Semina”, that remained unreleased until many years later.

Celebrating 50 years since the release of “Biglietto per l’Inferno” is therefore more than necessary.

This commemorative white vinyl edition, with a special 350gsm cover and a 60x30cm insert with lyrics, a presentation of the album written by music collector and connoisseur Mox Cristadoro, as well as a collection of photographs from those unforgettable years. A must-have release for any music collection!

SOILWORK is a band that has been through a lot. We don’t have to try and tidy things up by using clichés like personal and/or musical differences. It has been hell. We have lost loved ones and significant others have fallen ill. We are not young anymore, and our reality these days is the hellhounds on our tails, the ghosts in our subconscious and the coldness of existence that starts eating at your soul the very day that you leave the womb. We can no longer escape the fact that we’re vulnerable to the shortcomings of life itself. Verkligheten is the Swedish word for reality, the entity that we’re all trying to escape from. Verkligheten is our attempt to try and go somewhere else, to express all those things that are born in between hypnagogic states and frenzies of hyperrealism. Verkligheten is the otherworldliness of Swedish suburban anxiety, accompanied by blastbeats and slide guitars.

Over three years in the making, Needle Mythology Records is delighted to announce a super deluxe, expanded remastered reissue of The Lilac Time’s 1991 masterpiece, Astronauts. Released as a triple vinyl, triple CD or single vinyl, only 1000 copies of each format will be produced, there will be no further pressings. Both the 3LP and 3CD editions will come with an extensive 11,000 word oral history of Astronauts and liner notes by Needle Mythology co-founder and longtime Stephen Duffy fan, Pete Paphides.

All three albums including a 2024 remaster, a collection of works in progress entitled‘Softened By Rain The Making Of Astronauts’ and a live compilation ‘Any Road Up The Lilac Time Live 1990/91’ have been mastered for vinyl by Miles Showell at Abbey Roadand will be housed in a triple gatefold sleeve with a colour inner sleeve and new artwork for each disc, which has been especially created by designer Mike Storey. The main sleeve for Astronauts itself will replicate the original artwork but with the four distinctive “blobs” rendered in a red “foil” texture. In addition to these three disc sets, 1000 single vinyl remastered copies of Astronauts will also be made available, in a cherry red vinyl edition to match the outer sleeve.

With the shoegaze and baggy movements at their zenith, The Lilac Time’s fourth album was released at a moment when the left-field music zeitgeist was shaped by the nascent shoegaze, baggy and grunge movements. Whilst Astronauts conformed to none of those trends, neither was it the record Stephen had in his head when he finally finished working on it. We’ll never know how that record would have sounded, but it’s hard to imagine a better version of the album he did end up making. The songwriter who brought ‘A Taste of Honey’ and ‘Hats Off, Here Comes The Girl’ into the world envisaged the sort of choruses that would jump from the single speaker of your favourite transistor and lodge themselves into the collective memory bank.

But while he really was writing some of his most beautiful melodies, Astronauts is a family of songs that demands to be kept together in the sundazed cloud of inspiration that created it. It constitutes a partial retreat from the outwardfacing utopianism of its predecessors, choosing instead to dwell on the journey taken to get to this point. That this is an audibly different band to the pastoral expeditionaries of the group’s previous releases is almost entirely down to the departure of Nick Duffy and the arrival of Sagat Guirey. Suddenly, accordions, banjos and mandolins are out; jazz guitar is in. Sagat’s filigree work on the outro of ‘A Taste for Honey’ acts as a sublime parting shot to a lyric which acts as a wiser, wistful companion piece to Stephen’s 1985 solo hit ‘Kiss Me’, something tantamount to the camera retreating to reveal the years elapsed between the time depicted and the present day. The distance between the carefree youth of pop stardom and the first intimations of mortality can be measured between the first and second verses of the quietly devastating ‘Madresfield’; from the depiction of the deserted cricket pavilion obscured by fresh snowfall to the sudden shift in perspective from subject to protagonist: ‘No one ever told me/That killing time is harmful/For time cannot recover/What soon the ground will offer.’ For all of that, however, the resulting album didn’t correspond to the vision its creator had for it. At a loss as to what to do with it, Stephen surrendered Astronauts to Creation with no plans to promote or draw attention to it. The consciousness shift of which Stephen had hoped The Lilac Time might be a precursor hadn’t happened. Or, rather, it had – but it had happened elsewhere, in the Haçienda and Shoom and in Ibiza. Not on the hills of Herefordshire. In a nod to that sea change, Stephen handed over one song, ‘Dreaming’ to Hypnotone, who

SOILWORK is a band that has been through a lot. We don’t have to try and tidy things up by using clichés like personal and/or musical differences. It has been hell. We have lost loved ones and significant others have fallen ill. We are not young anymore, and our reality these days is the hellhounds on our tails, the ghosts in our subconscious and the coldness of existence that starts eating at your soul the very day that you leave the womb. We can no longer escape the fact that we’re vulnerable to the shortcomings of life itself. Verkligheten is the Swedish word for reality, the entity that we’re all trying to escape from. Verkligheten is our attempt to try and go somewhere else, to express all those things that are born in between hypnagogic states and frenzies of hyperrealism. Verkligheten is the otherworldliness of Swedish suburban anxiety, accompanied by blastbeats and slide guitars.

Suffocating, the hidden child of Plastikman, Farmer's Manual and Warp. The glitches could just as well be the disgusting sound system of the club crackling under the humidity as a rhythmic pan too well timed to be honest. From durations to sound grain, the gloves are removed. The standards are far behind, the pleasure vibrates from the ears to the lower abdomen. The listener manages to get lost on a straight line, the perfect labyrinth according to Borges, but the exits flash red for those who want to escape. Will Elvis leave the building?.

"Long sought-after by those in know, this essential Irish jazz album finally gets a vinyl reissue on Outernational Sounds! Fully licensed from producer John D’Ardis, remastered at Abbey Road from the original tapes, and with lacquers cut at Dubplates and Mastering, the Noel Kelehan Quintet’s stunning 1979 Ozone is presented with unseen photographs of the band and commentary from original band members.

Featuring moody, modal jazz of the first order, subtle and original composing and world- class playing, Ozone was the creation of Ireland’s most respected jazz composer and musician, pianist Noel Kelehan (1935-2012). The only small-group album under his name, and arguably the first ever Irish jazz LP, Ozone was a landmark recording, but it was far from Kelehan’s only achievement. Born in Dublin, Kelehan had studied music from an early age. From the mid-1950s he worked at state-broadcaster Radio Éireann (RÉ, later RTÉ – Radio Telefis Éireann), and from the early 1960s he fronted Dublin’s first be-bop unit, the Jazz Heralds. A busy professional career saw him compose for numerous Irish pop stars, arrange and conduct many of Ireland’s Eurovision entries, and even contribute string arrangements to U2’s Unforgettable Fire LP.

But jazz was Kelehan’s first passion, and he never stopped playing in both small modernist units and composing for his own big band. The late 1970s saw him fronting the Noel Kelehan Quintet, alongside drummer John Wadham, saxophonist Keith Donald, bassist Frank Hess and trumpeter Mick Nolan. Playing weekly in Dublin for several years, they opened for visiting stars including Dollar Brand and the Ronnie Scott Orchestra, and eventually played a two-week residency at Ronnie Scotts in London. Though Kelehan had recorded a big-band LP of traditional Irish songs arranged as easy jazz in 1970, Ozone was his first album of modern jazz. Released on John D’Ardis’s independent Cargo imprint and press on blue vinyl, it featured original compositions such as the deep collectors cut ‘Spon Song’, subtle Latin flavours on ‘Spacer’s Delight’ and a beautiful modal arrangement of the traditional Irish air ‘Castle of Dromore’. A legendary recording in Ireland, Ozone reflected Kelehan’s keen appreciation of classic quintet-era Miles, with touches of the cerebral fusion of Ian Carr and the arranging genius of Neil Ardley. Not just a landmark Irish jazz set, Ozone is a lost classic of European jazz more widely."

The ever prolific Teffa is back on LoDubs, albeit for his first Vinyl EP.

As just alluded to, this is the second meeting of the Far West Ruler and the Low End Master from Leeds, although one might be forgiven for blinking and missing the highly sought after (sold out in 5 minutes) Poly DubPlate cut released in early 2023, which was a matter of course in a year where pressing turn times quadrupled. As glad as we are that those days are in the past it also still left the inkling that a full release was necessary once the time and tunes presented themselves.

..And as such, here we have a total of 6 now-ting Grime hybrids (4 on the vinyl, and 2 vinyl-only bonus tracks in the DL and details on how to get those as a poly Dub, only for owners of the vinyl EP), Containing the elastic basslines of a true UKG and Dubstep Stalwart, whilst stretching those elements over syncopated, at time staccato-esque riddims, all beneath a novel modernization of the stilted, subharmonic and eski-esque synth bass pads that are quintessentially Grime. There truly is more to these with each listen, all the while grabbing you at first go.

State of the art: From the one and only Teffa.

13 tracks from the Rock and Roll Hall of Fame member—many making their vinyl debut. Pressed on opaque orange vinyl. Mastered by Grammy®-winning engineer Michael Graves. Lacquers cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Service in Memphis. Packaging contains liner notes from Bill Dahl. Little Richard's place in rock history has never been disputed. "The Architect" returned in 1970 on Reprise Records with The Rill Thing, and during his tenure there, recorded four albums with only three seeing actual release. (Southern Child would remain unreleased until the material appeared on a 2007 compilation, with Omnivore Recordings releasing it in its intended form in 2020.) Along with alternate takes, singles, and appearances on soundtracks including $ (starring Warren Beatty and Goldie Hawn) and composed by Quincy Jones, those tracks were included on expanded CD reissues of King Of Rock And Roll, The Second Coming, and Southern Child. Now, 13 of those performances are available on LP—some for the first time since their original release, and others making their vinyl debut. Settin' The Woods On Fire: The Reprise Rarities collects and showcases Little Richard's dynamic time on Reprise, and offers a deeper look into the man whose output was and is as engaging and original as it had ever been, as he crossed in the 1970s (and beyond). Mastered by Grammy-winner Michael Graves and cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Studio in Memphis, Settin' The Woods On Fire offers a look into a man whose musical boundaries were endless, and paves the way for a reissue campaign highlighting those classic albums' return to vinyl.

13 tracks from the Rock and Roll Hall of Fame member—many making their vinyl debut. Pressed on opaque orange vinyl. Mastered by Grammy®-winning engineer Michael Graves. Lacquers cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Service in Memphis. Packaging contains liner notes from Bill Dahl. Little Richard's place in rock history has never been disputed. "The Architect" returned in 1970 on Reprise Records with The Rill Thing, and during his tenure there, recorded four albums with only three seeing actual release. (Southern Child would remain unreleased until the material appeared on a 2007 compilation, with Omnivore Recordings releasing it in its intended form in 2020.) Along with alternate takes, singles, and appearances on soundtracks including $ (starring Warren Beatty and Goldie Hawn) and composed by Quincy Jones, those tracks were included on expanded CD reissues of King Of Rock And Roll, The Second Coming, and Southern Child. Now, 13 of those performances are available on LP—some for the first time since their original release, and others making their vinyl debut. Settin' The Woods On Fire: The Reprise Rarities collects and showcases Little Richard's dynamic time on Reprise, and offers a deeper look into the man whose output was and is as engaging and original as it had ever been, as he crossed in the 1970s (and beyond). Mastered by Grammy-winner Michael Graves and cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Studio in Memphis, Settin' The Woods On Fire offers a look into a man whose musical boundaries were endless, and paves the way for a reissue campaign highlighting those classic albums' return to vinyl.

“Music is my forever cove,” writes Portland, Oregon’s Luke Wyland of the ideas that give shape to Kuma Cove, his latest album under his own name. Though named after a real place on the Oregon coast, Kuma Cove casts its gaze far beyond the sightseer’s line of vision. Recorded live in the studio and blurring obvious lines between computer-based composition and electro-acoustic instrumentation, it is an album about flow, borders, transitory states, and shelter. Composed of discontinuous ripples and repetitions (“I’m forever searching for a better descriptor than looping, which feels too simple and flattened by overuse,” Wyland says), shaped into richly emotive arcs, and informed by his experience as a person who stutters, it is also an album about identity, self-expression, and the energies that sluice through and across what we perceive as linear time—like floodwaters seeking an exit, like streams running into the sea.

Artist’s Statement:
I made this record while spending significant time in the woods by the Sandy River in Corbett, Oregon,
where I've had my studio for the last five years. It is a diary of spontaneous live recordings edited to highlight the moments of clarity that emerge from long-form improvisations. These compositions express a slowing internal rhythm. An unwinding. A somatic recalibration as I enter middle age. A newly empowered vulnerability.

Here are the internalized cadences of my stutter, flowing freely from my fingers. The musicality of my disfluency is revealed in its frictions, elongations, and foreshortenings. Disruptions in linear time, where the bubbling cadences of my stutter find unexpected pathways, reveal the elasticity of the present moment. This is my idiosyncratic language, shaped and inspired by my disability. Subliminally mirroring internal processes, neural firings, cognitive entanglements...

The title, Kuma Cove, refers to a beloved cove on the coast of Oregon my wife and I return to yearly. There has always been something so magnetic about coves. The way they cradle one from the overwhelming enormity of the ocean beyond, muting a primordial fear. I experience these improvisations as ecosystems I'm able to inhabit for stretches of time, embodying the particular rhythms and sensorial textures within each. Music is my forever cove. Everything you hear is created live in Ableton on a setup I've been honing for 15 years. I celebrate MIDI and computer music as an extension of self and strive to make it as expressive as any analog instrument. I was a visual artist for the first half of my life and quickly adapted those skills to composing and producing on a computer. The transition felt natural within the landscape of DAW's interfaces, especially as a synesthete. Ableton and its community of Max creators continue to surprise me with its expansiveness.

I'm forever searching for a better descriptor than looping, which feels too simple and flattened by overuse. I envision sonic loops as tangled masses of time, three-dimensional knots spinning on tilted axes, or overlapping wreaths refracting out a myriad of colors. My practice is continually refocusing my ear to what is revealed in the repetitions, searching for the fingerprint of each. I find it incredible how technology lets us manipulate time like this. Nothing on this record is quantized or locked to a universal bpm. Experiencing numerous tempos at once feels important. Recordings as mirrors. Freedom from expected (conversational) flow as we hold time for each other.
-Luke Wyland, August 2024

Artist Bio:
Luke Wyland is an interdisciplinary artist, composer, and performer based in Portland, OR (USA). Wyland has been releasing critically acclaimed records for the past 20 years in the groups AU and Methods Body, as LWW, and under his own name, working with such labels as New Amsterdam, Beacon Sound, Balmat, The Leaf Label, and Aagoo Records. As a person who stutters, Wyland’s approach to music is informed by his idiosyncratic relationship with language. Wyland believes deeply in the cathartic power of live performance as a means for collective healing. Through an interdisciplinary art practice that focuses on improvisation, somatic embodiment, bespoke tuning systems, the cadences of disfluent speech, and time manipulation technologies, he’s collaborated with choreographers, high-school choirs, filmmakers, sound designers, and renowned musicians such as John Niekrasz, Holland Andrews, Colin Stetson, and Abraham Gomez-Delgado. He’s also the co-creator of the “It’s A Fucking Miracle” dance class with Tahni Holt.
Wyland has toured nationally and internationally and performed at the Whitney Museum, Ecstatic Music Festival, Issue Project Room, PICA’s Time-Based Arts Festival, End of the Road Festival, and Les Nuits Botanique, among others.

Dark Evergreen VInyl. The odd couple of Kristian Dunn (El Ten Eleven) and Damon Che (Don Caballero) was the result of some clever musical matchmaking by Karl Hofstetter, founder and curator of Joyful Noise Recordings. Karl introduced Dunn and Che via email in April 2023 after Dunn's prolific output outgrew the resources and abilities of his instrumental duo El Ten Eleven. Less than a year later, after countless text messages and song sketches were exchanged, and one fateful meeting at a recording studio was organized, their nascent project's debut record, See You at the Solipsist Convention, was complete. Despite Che's initial unfamiliarity with Dunn's musical output, their personalities bridged any and all gaps_both Che and Dunn share a flair for the comically absurd and musically adventurous, a mindset that shines throughout See You at the Solipsist Convention. Che has become legendary for his calculated polyrhythms and undeniable physicality, while Dunn is known for relentless experimentation and productivity akin to a freight train. Quickly, the unlikely pair transformed into destined collaborators. Scaffolded around eight-string bass, knotty percussion, and intricate syncopation, See You at the Solipsist Convention is a carnival of delights for fans of the post-everything persuasion_uncategorizable yet reverent to the altar of instrumental rock. Beyond all measure, Yesness stands as a testament to the powerful dividends of friendship and collaboration. We are nothing without each other - our partners, our local record store clerks, our neighbors. Music, too, thrives on our entanglements. With twelve tracks, an upcoming tour, and an unexpected friendship stemming from one email, Yesness underscores the brilliant machinery of human connection.

"Entitled Silêncio, the new album is due in September and will arrive as a natural continuation of the first, featuring songs that had been left out as well as those that were part of Nigro's shows with the band. ""The songs have come to life. Today I feel more confident about doing my own thing, more assured. I want to propose this listening to silence, to the hidden subtleties that are revealed in existence"", he concludes.

Recording the first album was a personal adventure with an uncertain destination. Apocalip Se embodies this feeling of conducting an internal investigation, a rediscovery from the inside out. On the new album, the image on the cover is about being open, with your hands absorbing the outside, feeling the power of nature reflected in its greatness,"" Nigro reflects.

""I always woke up at 4 a.m. to the sound of a variety of birdsongs, and I kept thinking 'what are these birds saying? Do they even think about us?'"". The artist then composed the instrumental part with his guitar and sent it to the poet Eveline Sin suggesting this theme, and she responded years later, at the time of the recording of Apocalip Se. The song was formed in several movements, also bringing together pianist and partner Dustan Gallas, with a new arrangement featuring more than 20 musicians, taking the new version to another level of interpretation. As for the construction of the melodies, Nigro reflects: ""I think the voice is an instrument, a fascinating harmonic instrument"". In addition to producing for numerous well-known artists, such as Russo Passapusso, Francisco el Hombre, Curumin, and Anelis Assumpção, onalbums that have marked the history of independent Brazilian music, Zé Nigro has used his role as a singer as a long experiment in self-knowledge."

Black vinyl 180g made only in 100 numbered copies.

This record is different. It is different from what might be expected of Jan Emil Mlynarski by those who know him, from sold-out shows and platinum albums of his bands – Jazz Band Młynarski – Masecki and Warsaw Dance Combo, as an old-timer, curator and reenactor of pre-World War II Warsaw's plush dancehalls and backyards folklore. Quite likely they may not recognize him until the last song, when he removes his shaman mask and bows down: Yeah, that's really me, folks, your good ol' Jan Emil, the entertainer. They might not have even known that he ever played drums because in his flagship bands, clad in a white tux in the former or in a Peaky Blinder hat in the latter, he sings and plays mandolin banjo. In fact, Młynarski has been a drummer for a lot longer than a singer. He stands clear of the jazz mainstream but is active on the progressive scene. A record he contributed to, trumpeter Tomasz Dąbrowski's 2022 release The Individual Beings, was recognized by Downbeat magazine as "excellent" and awarded the highest rating of five stars.

However, this is the first instrumental record to bear his name. As an album by a drummer, it stands out from other records, especially as it features drums as the principal content rather than the performance by a band with a drummer as the leader. It's all about drums, there is neither an articulate melody – because the melodies that are there are only micro-linesencased in ostinato modules – nor is harmony as an intentional chord progression – because whatever harmony-wise there is, is rather a product of the counterpoint of overlapping voices. All sounds other than the drums make only a riverbed through which runs a raging stream of rhythms. And indeed, this record took off just with this stream. At first all the drums were recorded live onto an analog tape, all at once, without overdubs or editing. After that, synthesizer riffs were added, and the record was ultimately assembled on tape without the use of computers or complex postproduction, which sets it apart from most releases today.

Młynarski the drummer acknowledges that he follows the trail beaten by Art Blakey, Max Roach, Roy Haynes, and Billy Higgins, but he walks it in his own strides. He treats the jazz drumming with specific reversed engineering by decompiling the jazz drum kit originally compiled by the pioneer jazz drummers from an array of instruments that had made their way from a jungle to New Orleans, first to Congo Square and then to street brass bands.

This takes him back to the jungle, his drums don't sound like jazz drums, the snare is rare, and the hi-hat and ride aren't there at all. Instead, there are drums and bells from Nigeria, Ghana, Burkina Faso, and Côte d'Ivoire. He doesn't sound like a jazz drummer either, but like a gang of drummers, each playing their own rhythm, and it's hard to believe that all this is the work of one man.

Not only his drumware comes from the jungle, but also the software – his approach to rhythm and time. Its essence is polyrhythm and ostinato. The polyrhythmic matters were unveiled to Młynarski and Piotr Zabrodzki, his creative partner in many projects and co-composer/producer of this album, by the legendary eccentric veteran-drummer Władysław Jagiełło, who introduced them, aged thirteen, to his concept and practice of "17 Latino rhythms at once". Ostinato, an obstinate repetition of a phrase or rhythm, "arrests" time, turning its linear course into cyclical in-place rotations. This is specific not only to African music but also to cultural music of other regions and differs from Western artistic music in that it does not "run" to fulfil an aesthetic intention but "stays" to provide the framework for recurrent routines of communal proceedings.

So, this record is different. And, if you are different too, this is the record for you.

A1 Dharma
Opening the LP in lively fashion, JLM liberally flecks a detailed composition with exquisite breaks cymbals playing a key role in the evolving patterns as the track progresses while heavy layers of synth work forms a substantial atmosphere. Musical and resonant with micro melodies and sprinkles of FX, Dharma encapsulates JLMs everimpressive attention to detail throughout its seven minutes.

A2 Artha
Where to start with Artha Setting the scene immediately with an epic synth intro that whooshes through your mind to prepare you for what is to come, its immediately obvious JLM has crafted a modern day classic here. Crisp Hot Pants breaks drop before we are treated to inspiring, continually developing and rousing melodies with a tuneful 808 bassline playfully dancing below. One to drop any chance you get Artha deserves to be heard.

B1 Moksha
Delightfully clear, characterful percussion introduces Moksha, a dancefloor friendly piece which rolls along beautifully thanks to old school breakbeats seizing the initiative while fluid keys, filtered synths and waves of serene effects punctuate the production. The
kick-light breaks will stay long in the memory as perfect for both the headphones and the discerning dance floor, just as weve come to expect from JLM.

B2 Kama
Taking you back to the early Progression Sessions era with a modern scifi twist reminiscent of your favourite space operatics, Kama will sit effortlessly alongside tracks from those days and now with its simple yet memorable core wind melody, sprawled
across energetic breakbeats and wide layers of synths & pads to a typically appropriate bassline. Another fine example of the evolving diversity in JLMs production with Spatial.

C1 Boundary
Switching things up, JLM treats us to a notably laid back vibe as Boundary is introduced by understated, filtered synth work and explorative kicks before a mellow yet chunky break pattern provides energy to the track. Detailed as ever, a myriad of effects and
samples are introduced and dance around the mix with a wistful complexity, in a track destined to be in your playlist for some time to come.

C2 Hexis
Kicking things off with a filtered DJ friendly beat intro, Hexis soon drops with constant old school jungle synth work and periodical strings alongside rasping, striking breakbeats that drive the track forward with impressive energy. The breaks reverberate in and out of the mix at intervals as JLM toys with the listener at will, creating a tonally unique and vibrant composition very much worthy of our attention.

D1 Ideal Forms
Low pass breaks echo and jostle for position with FX free counterparts early doors in the finely crafted intro to Ideal Forms, slowly developing with a triumphant assortment of keys and synths before a third layer of breaks are added which underpin a detailed, yet never busy, breakbeat landscape. Occasional breakdowns offer respite in a glistening wilderness of comforting melodies and light ambience.

D2 Physis
JLM rounds the album off very much on form with Physis a suitably climactic piece that opens with a detailed array of percussion, synths and effects before superbly programmed breaks take over the mix. An occasional, all encompassing sci fi synth rush
permeates the atmosphere to almost cinematic levels, while a melodic bassline nestles below leaving you with a track (and an album) you will not forget.

Words by Chris Hayes (Spatial / Red Mist)

"Hevn III emerges from the shadows of Norway’s underground with a debut album that is nothing short of a sonic assault. This relentless black metal offering is a testament to the trio's pitch-black sovereign hatred, channeled through raw, primal aggression. Drawing on themes of hatred, magick, misanthropy, and the philosophical musings of Blake, Nietzsche, and Crowley, Hevn III crafts a soundscape that is both chaotic and deeply unsettling. For those who have encountered Hevn III live, the sheer intensity of their performance is unforgettable. Their sound harks back to an era when black metal was raw, dissonant, and unfiltered, characterized by a tight, sulphurous noise that gnaws at the soul. This debut album plunges listeners into a world where dissonance is king, and every riff resonates with venomous intent. Hevn III isn’t just an album; it’s a ritual of misanthropic fury, destined to leave a lasting scar on the black metal landscape."

"Hevn III emerges from the shadows of Norway’s underground with a debut album that is nothing short of a sonic assault. This relentless black metal offering is a testament to the trio's pitch-black sovereign hatred, channeled through raw, primal aggression. Drawing on themes of hatred, magick, misanthropy, and the philosophical musings of Blake, Nietzsche, and Crowley, Hevn III crafts a soundscape that is both chaotic and deeply unsettling. For those who have encountered Hevn III live, the sheer intensity of their performance is unforgettable. Their sound harks back to an era when black metal was raw, dissonant, and unfiltered, characterized by a tight, sulphurous noise that gnaws at the soul. This debut album plunges listeners into a world where dissonance is king, and every riff resonates with venomous intent. Hevn III isn’t just an album; it’s a ritual of misanthropic fury, destined to leave a lasting scar on the black metal landscape."

"Hevn III emerges from the shadows of Norway’s underground with a debut album that is nothing short of a sonic assault. This relentless black metal offering is a testament to the trio's pitch-black sovereign hatred, channeled through raw, primal aggression. Drawing on themes of hatred, magick, misanthropy, and the philosophical musings of Blake, Nietzsche, and Crowley, Hevn III crafts a soundscape that is both chaotic and deeply unsettling. For those who have encountered Hevn III live, the sheer intensity of their performance is unforgettable. Their sound harks back to an era when black metal was raw, dissonant, and unfiltered, characterized by a tight, sulphurous noise that gnaws at the soul. This debut album plunges listeners into a world where dissonance is king, and every riff resonates with venomous intent. Hevn III isn’t just an album; it’s a ritual of misanthropic fury, destined to leave a lasting scar on the black metal landscape."

This star-studded John Prine tribute album is now available on vinyl from Oh Boy Records. Featured artists include The Avett Brothers, Drive-By Truckers, Justin Townes Earle, and Justin Vernon of Bon Iver.

his release marks the first complete album reissue on Canopy. Originally released in Nigeria in 1987, “Oppressor” was executive produced by Myke Moul himself and distributed domestically by EMI Nigeria & Tropic Records.

“Oppressor”, the album, finds the sweet spot between synth reggae, boogie, and euphoric Balearic island vibes.

Written by Myke Moul and arranged in collaboration with reggae star Majek Fashek in Nigeria, it was later re-crafted and recorded in France with a host of French musicians. Most notably the contribution of multi instrumentalist Pierre de St Front added engaging synthesiser parts and electronic drums.

Unfortunately the pressing of the album suffered from inherent technical flaws which adversely affected the sound quality and therefore even those lucky enough to find a copy, will not be able to enjoy it without considerable sonic defects. Therefore this remastered reissue will prove welcome to both collectors and new discoverers.

The titular track “Oppressor” stands out as a mid-tempo synth-reggae-boogie jam espousing the turbulent political times in Nigeria that were present in the late 80s. Elsewhere “Shadows in the Rain” is an instrumental cut displaying a jazz-funk sensibility which was unusual for a Nigerian artist at that time, and reflects Myke’s influences outside his home country. “Heading for the Top” is a boogie dance floor gem that shows the popularity of this genre at the time, as evidenced in many Nigerian releases and still sounds just as vital today. “Rescue us. O! Lord” shows Myke’s great song writing and Pierre’s fine musical skills working in tandem to create a reggae boogie tune, displaying the reggae & ska tendencies that were present in pop music in this era, from artists such as Grace Jones, Sly & Robbie or The Police.

All in all, the album demonstrates something fresh & exciting for Nigerian album reissues, touching down in a reggae fusion direction, with some fuller sounding production aesthetics, making the dynamics full and crisp on sound systems while also well suited to home listening.

The Peace Chant compilation series is a Temple, a reliquary of sacred harmonious statements made by enlightened artists throughout time. With Tramp Records' latest offerings, "Peace Chant, Raw Deep and Spiritual Jazz volumes 5 & 6, deeper, darker, and even more remote chambers of this already exalted temple are brought to light. The team at Tramp, with their torch of love and with reverence for those builders who came before, have returned from their quest with musical treasures unfathomable. Indeed, some of these tracks sound as if they may have literally been plucked from the ancient hands of some towering golden idol. But this quest was no looting effort, no. The Gods, as well as the artists and their families were fairly compensated through Tramp Records' rigorous and historically conscious licensing efforts.

Some of the treasures herein include, from Volume 5, a German gospel/modal jazz hybrid replete with flutes and vibes (and even a surprise gospel choir) reminding us not to 'speak when we should be silent' called "Ich Rede Wenn Ich Schweigen Sollte"; Indian jazz/rock fusion outfit Jazz Yatra Sextette's literal peace chant, "Shanti" led by Louis Banks (real name Dambar Bahadur Budaprithi), who worked with Embryo and John Maclaughlin; and Ron Wilson Trio's walking meditation and study on the beauty and rhythm of "Zimbabwe" in 3/4.

The Peace Chant compilation series is a Temple, a reliquary of sacred harmonious statements made by enlightened artists throughout time. With Tramp Records' latest offerings, "Peace Chant, Raw Deep and Spiritual Jazz volumes 5 & 6, deeper, darker, and even more remote chambers of this already exalted temple are brought to light. The team at Tramp, with their torch of love and with reverence for those builders who came before, have returned from their quest with musical treasures unfathomable. Indeed, some of these tracks sound as if they may have literally been plucked from the ancient hands of some towering golden idol. But this quest was no looting effort, no. The Gods, as well as the artists and their families were fairly compensated through Tramp Records' rigorous and historically conscious licensing efforts.

Volume 6 ululates with a rich flute and Fender Rhodes-rich microtonal fusion called "Cataracts" by Musica Orbis that even comes with some sparkling Afro-harping moments ala Dorothy Ashby; a 5/4 dreamscape conjured by the Fredric Rabold Crew called "Januschka" with enraptured wailing soprano; and a very interesting and likely heretofore unheard version of a tune that, in Dizzy's words, "... has withstood the vicissitudes of the contingent world and rocketed in an odyssey into the realm of the metaphysical...", A Night in Tunisia, with rich vocals and scatting.

James Brown had several incredibly talented funky divas in his late 60s and early 70s stable, including Vicki Anderson and Marva Whitney. But as great as those two powerhouse singers were, Lyn Collins was the strongest hitmaker of that funky JB era. Her strong voice and commanding stage presence - which earned her the nicknames The Female Preacher and Mama Feelgood - quickly proved to be a potent addition to the People Records universe. In the spring of 1972 her second single, the driving and ridiculously funky “Think (About It)” hit the R&B music world like a ton of bricks. As fans young and old know, thanks to its timeless, relentless groove and powerful vocals, “Think” gained a powerful second life in the 1980s thanks to the hip-hop generation, fueling the platinum smash “It Takes Two,” by Rob Base & DJ E-Z Rock in 1988 and additionally sampled by dozens of hip-hop and dance music artists up to the present day. But Collins was far from a one hit wonder: she was as vocally adept on ballads as she was with full-blown funk. She proves this throughout her debut album, which was released in 1972 on James Browns new People Records - the imprint's second full-length release. To wit, aside from the title smash: a powerful and emotional cover of Bill Withers "Ain’t No Sunshine"; the socially progressive "Women’s Lib"; the Gamble & Huff-penned "Never Gonna Give You Up" (originally done by Jerry Butler); and even a daring, muscular take on the song “Fly Me To The Moon,” made famous by, among others, Frank Sinatra. Throughout Think (About It), Collins shows that she was a vocal force to be reckoned with. Backed by a James Brown assembled musical crew that included Pee Wee Ellis, Fred Wesley and, of course, James Brown himself, the platter was bound to impress and succeed. And that it did.

Hybrid is a word used indiscriminately in our daily lives. This record isn't a hybrid; it's beyond hybrid, post-hybrid, so to speak. Does this phrase sound complicated to you, and are you never overly convinced by music theory and its caricatural aspect? Then forget what you’ve just read and listen to both sides of this record. You'll soon realise that these tracks are deliciously deft, drawing their essence from dub while leaving room for some skillful jazz writing. For those of you intrigued by melodies, the art of musique concrète or the exploration of dub music’s deviant angles, this record will easily find its place on your turntable.

The two sides of the record are cut with play, improvisation and effects, while leaving room for themes and ideas. If this record’s first chapter was born from a request to remix and pay homage to Jackie Mittoo, its themes tell another story. They have been declined and even reduced to an explosion point. The tracks are also driven by subtle details of musique concrète, giving the record the effect of an intimate musical production – but, above all, one of uncategorisable beauty.

In Androo’s case, this is hardly surprising. He is a craftsman who is unassailable in every respect, a poetic dynamiter and, for this reason, one of the most unpredictable musicians in Geneva (and beyond). His appetite for dynamite is perhaps an indication of his conception of music as, first and foremost, an experience. His highly personal and inventive tribute to figures from free jazz and contemporary music proves the point. But perhaps it is also an indication of his attachment to Jean-Luc Godard. You'd have to imagine Androo at his mixing desk without a pre-written script. The idea of editing infuses the record. The two sides are very much in this style and spirit: (un-)shot, meticulous, (ir-)reverent. In this respect, this record is a formidable proposition, and perhaps difficult to understand, but not striving to be understood.

Its combination of improvisation and composition is underpinned by a razor-sharp precision and dexterity that's hard to ignore, especially if you're curious about the art of sound mixing and the romantic accidents. It has a dexterity that transforms musical grids into romantic essays and sketches. A romanticism in which Androo takes us on a liberating musical experience that makes us forget the inertia of the ramping formatting of the record industry. In any case, this record is an invitation to (un-)think the category, and will delight any ear curious to wander into territories of intuition where the word hybrid no longer makes sense.

Text by Carl Åhnebrink

qebrus (pronounced Ké-brusse) was a project by Thomas Denis, an enigmatic French musician and producer born in 1981 and based in Caen, France, before his untimely passing in February of 2018. His undefinable otherworldly compositions and internet glitch trickery turned many heads catching the attention and support of esteemed artists such as Aphex Twin, Four Tet and Venetian Snares. The appeal of his music to other forward-pushing producers was emblematic of the uniqueness of his productions and led to collaborations with the likes of Tom Middleton, Otto Von Schirach and Mr Bill. His only release on Love Love Records, 'ᐔ ᐌ ᐂ ᐍ ᐚ', proved to be one his furthest reaching, originally released on CD during a flurry of musical productivity during 2017. Those 6 tracks of intricate extraterrestrial electronics now get the vinyl treatment, having been lovingly remastered or this reissue and pressed on green coloured wax.

The qebrus guise was that of an alien stranded on Earth and this concept was consistent throughout. The project gained notoriety almost exclusively on the internet, with many people's first experiences of his persona coming from the use of chaotic ASCII syntax in track titles which at the time 'broke' many of the websites he used to host his music. This theme of incomprehensibility extended to the sonic qualities of his music, foregoing any shred of familiar sounds in favour of an entirely electronically synthesised sound palate resulting in jarring and frenetic works full of near-imperceptible micro-details.

qebrus rarely performed live with one of the few occurrences being at an after-party following the now legendary Day For Night Festival 2016 in Austin, Texas where Aphex Twin played some of Qebrus' music to a crowd of 20,000 as Thomas watched on in what was undoubtedly an otherworldly experience for him.

Despite his vision being entirely self-driven without a care for popularity or recognition, there were many people across the globe that connected with the sheer weirdness of it all. 7 years on 'ᐔ ᐌ ᐂ ᐍ ᐚ' still sounds wholly futuristic and will likely remain so for centuries to come. In a time where it seems everything has already been done before Thomas leaves behind a legacy of an artist who was truly 'doing their own thing'.

Thomas is survived by his two children who will be receiving his proceeds from sales of this release.

“really alien sounding music”
Aphex Twin —

“Did you know that guy, Qebrus? He was on his own shit, he was making some really out there music, his music was incredible”
Venetian Snares —

“Listening to intelligent dance music producer Qebrus feels a lot like entering another dimension, his music stumbling its way through electronic chaos, leaving the listener unsure over what just happened.”
Thomas Hobbs — Crack Magazine

Continuing our quest to get all of the classic early AMT albums released on vinyl, we turn to 2004’s 'Mantra Of Love’, and with the help of Makoto Kawabata’s studio wizardry, we’ve made it possible.

This latest instalment in the ‘Acid Mothers Temple Vinyl Archives - First Time On Vinyl’ series (as with the three previous SOLD OUT releases in the series) have all been meticulously put together with the help of Makoto Kawabata with the original CD artwork recreated for these vinyl editions from archive photos stored in the vaults at the Acid Mothers Temple in Osaka, Japan and the original audio remastered by James Plotkin.

Here’s what others had to say upon it’s original CD only release back in 2004 …

“Acid Mothers are strong folk. You'd think they'd tire quickly, all tucked away on their island, strewn about on tree roots while baking their lungs and throats to a knotty green tinge. But instead of waltzing through life like hippies, they manage to not only tour and put out records every year, but also to fill those albums with 30-minute jams and assorted freakouts. And while evil jam bands would fill that space with guitar work taken from the Classic Rock Manual of Clichés, Makoto Kawabata and company assault listeners with frighteningly dense walls of white noise, psychedelic swirl effects and, yes, even guitar solos-- albeit ones that are more Merzbow or Keiji Haino than Gary Rossington. Truly, AMT's endurance and threshold for cosmic lashings are both worthy of admiration.

But how much AMT can you take in one sitting? If there's anything this band has taught us-- via records such as 2002's Electric Heavyland and the ferocious Acid Mothers Temple & the Melting Paraiso U.F.O-- it's that they're not afraid to reach for the upper regions of consciousness. On Mantra of Love, they offer two titles over the course of one hour, never faltering along the way, and it's as if we listeners are just brief visitors passing through a never-ending, spontaneous group trip. For all I know, Kawabata has hundreds of hours of this stuff on his hard drive-- at any single moment, this record's sheer volume of sound is a clamor to behold. However, if you aren't dialed into that the particular space AMT inhabits (for me, it's the mystical fire-baptism standby), you might not hear their glorious noise for all the, well, glorious noise.

"La Le Lo" begins as a lengthy psychedelic ballad sung by Cotton Casino (who doubles on "beer & cigarettes"), who is accompanied by her own ghostly backing vocals. The band is playing a mantra as Casino waxes earth-mother stylings to the moon. The serenity is broken by a patented AMT rave led by Kawabata's electric sitar (!) solo. Ace rhythm section Tsuyama Atsushi ("monster bass") and Koizumi Hajime hold things together, as does the generally decent recording quality (not a given for these guys), but the real money is in effects-- lots and lots effects. Much like France's Richard Pinhas or AMT's countrymen in Les Rallizes Denudes and High Rise, the band understands the collaborative power of solo + overdriven Moog sirens and screams. And, also like those artists, Acid Mothers can go on all night if need be. About 25 minutes into this piece, any hell that hadn't already broken loose gets its due, and the band speeds to a fiery climax before winding down into glimmering astro-ambience.

The second track, "L'Ambition dans le Miroir", also begins as a minor ballad featuring Casino's haunting solo vocal. The Mothers set her up with a faux-blues drag and a thick buffer of synth-rays; when Casino actually enters, she fights for airtime with an array of falling stars and cosmic dust. However, this time there is no overwhelming solo to power the comedown. Casino intermittently coos in the background while droning horns keep the auxiliary pixie haze from evaporating. As they showed on In C and La Novia, AMT are more than adept at creating calmer storms-- listeners just have to catch them in the right light. Mantra of Love doesn't necessarily capture the most inspired moments in their canon but as usual with this band's records, it's rarely at a loss for moments of horror or grandeur.”

Acid Mothers Temple & The Melting Paraiso U.F.O. : Cotton Casino - Vocal, Beer & Cigarettes - Tsuyama Atsushi - Monster Bass, Vocal, Cosmic Joker - Higashi Hiroshi - Synthesizer, Dancin' King - Koizumi Hajime - Drums, Percussion, Sleeping Monk - Kawabata Makoto - Guitar, Bouzouki, Electric Sitar, Violin, Hammond Organ, Speed Guru

Belgian-born producer Gratts and pioneering Chicago vocalist Robert Owens first collaborated on 'Brighter Future' back in 2021 after meeting in the streets of Kreuzberg years before. The pair now join forces again for follow up 'Today', a powerful and emotive, 90s inspired deep house cut with layered backings and Owens' lilting affirmations soaring above. The extended club version takes you straight to house music's ecstatic heydays, while the twelve also includes an acapella tool for those singalong moments. On the flip, Mark Hand's slower, soulful rendition takes things into sideroom territory. Finally, 'Mount Olympus', home to the Greek deities, fuses a rattling drum machine, arpeggiated synth lines and a potent analogue bassline - with added bonus beats to bang the box and get weird!

DJ Marky, Makoto & Nookie reboot Adam F’s revisited rework of 1997 hit, ‘Music In My Mind’

Adam F enlists jungle royalty to modernise his 1997 track, ‘Music In My Mind’, from his anticipated forthcoming rework album, ‘Colours Revisited’

Legendary drum ‘n’ bass producer Adam F announces the ‘Music In My Mind Revisited Reboots’ EP, out digitally on 20th September via 181 Recordings, featuring reworks of his acclaimed 1997 track by DJ Marky & Makoto and Nookie.

Further launching this underground dance classic into new dimensions is Brazil’s DJ Marky and expertly selected Japanese producer Makoto. Together, they effortlessly bring the jazz-infused track to the attention of today’s ravers with re-jigged, amplified drums. Certified 90s jungle veteran Nookie goes more liquid with his version, heightening the vibes and setting the scene with immense violin strings.

‘Music In My Mind’ was originally featured on Adam F’s 1997 album, ‘Colours’. Now, as part of the Liverpool-born producer’s much-anticipated ‘Colours Revisited’ album, out in 2025, the jazzy, vocoder-loaded track inspired by Bob James, Lalo Schifrin and Chick Corea, has been given a modern reshape. 

“‘Music In My Mind’ speaks to the power of music to transport, heal, and uplift our spirits,” says Adam F. “This song resonates with those who find solace and freedom in the melodies and rhythms that exist in their own minds and bring back memories of a time when I felt an overwhelming connection to music.”

“This song holds a special place in my heart, and I believe it carries a deeper meaning that resonates with anyone who can relate to finding consolation and liberation in the power of music.”

There’s no better time to keep an eye on Adam F, as he uncovers yet more gold from his elegant and timeless back catalogue. Adam F is as fertile and contemporary as ever with more new production ready to launch unto the legions of listeners hungry for great music as his creativity flows brighter than ever.

Hitting their tenth release, Heels & Souls Recordings journey to South Africa reissuing Hot Slot Machine’s pioneering and sought after self-titled album from 1992. Cultivating a sound and vibe that took South Africa by storm in the early '90s, the six track LP took influence from the genres that drifted over the Atlantic from the US and UK. From house and R&B, through to soul, hip-hop and reggae - creating a rhythm-driven, bass-heavy blend of them all, repackaged with a township flavour.

Known to many as Joe Nina, Makhosini Henry Xaba’s early forays into production would help lay the foundation for the infectious, groove-laden genre that would go on to be labelled as kwaito. With two albums already under his belt as T. McCool and King Rap, aged just 16 Makhosini wrote and produced Hot Slot Machine with the help of Gerdes Chessman - an LP that was far beyond both its time and his youthful years.

Striving to imitate the heavy house sounds inbound from the UK and America, artists like Blackbox and Ten City became big influences. Hot Slot Machine radiates with those impressions, providing something unique in South Africa in the early ‘90s. Leaning more into house and hip hop than the disco-flavoured bubblegum rhythms, the tracks were richer in sound, heavier on the synths and powered by rattling basslines.

Undeniably infectious and unquestionably well put together, the album contains six hits and no misses. With the chunky hip house grooves of ‘Rhythm’, ‘Unchain My Heart’ and ‘Shake Ya Down’, running side by side with the low slung, magnetic bounce of ‘Lookin’ Mix’, ‘I’ll Be Ready’ and ‘Lovin’ Mix’.

Sadly the tapes were long lost, so the wizards Sean P and Justin Drake ripped and restored the album, with Justin giving it a well-deserved remaster. Licensed from Gallo with the blessing of Makhosini, this truly must-have LP now comes complete with a printed inner sleeve housing liner notes and never-before-seen photography.

Original copies changing hands for £50+ on Discogs. Remastered and reissued for the first time since 1992!

Bruno Sanchioni releases "Capture EP 2" on Art Max Records. Bruno Sanchioni, a pioneer of electronic music and the mastermind behind legendary projects such as Age Of Love, BBE, and Bazz, returns with Capture EP 2, a follow-up that promises to make a lasting impact. Following the enthusiastic reception of the first installment, this new EP promises to be a unique sonic journey, where punchy acid sounds intertwine seamlessly with melodic and hypnotic atmospheres.

Capture EP 2 once again showcases Bruno Sanchioni's singular talent, as he skillfully blends boundless creativity with a deep respect for the roots of electronic music. Each track is crafted with his trademark originality, offering surprises at every turn while staying true to the spirit of his early works. The EP captures that timeless energy that has always been at the core of his musical approach.

This new EP, coming soon on Art Max Records, is much more than just a sequel. It is a brilliant showcase of Bruno Sanchioni's ability to innovate while remaining deeply rooted in a sonic tradition he masters to perfection. This EP stands as a must-have for those looking to rediscover the essence of an era, reimagined with the unique touch of one of the genre's true masters.

“Music for Lovers” is the new solo outing of multi-instrumentalist Samuel Rohrer (playing a combination of percussion, modular synthesizer and keyboard-based instruments on this recording).
The album’s title, which has been used for other albums in unrelated musical genres, might be deceiving: those who expect overly sentimental, fluffy pieces full of levity from start to finish, or sarcastic and cynical attempts at rejecting such “easy” listening, will be surprised by the emotional and tonal complexity on display here. In Rohrer’s own words, it is dedicated to “those brave lovers, who are ready to not only find, but eventually become truth,” and as such is an exploration of an evolving process rather than an idealized state.

A Universe of Pop: Fleetwood Mac’s Tango in the Night Features Meticulous Production, Includes the Hits “Big Love,” “Everywhere,” “Seven Wonders,” and “Little Lies”

Experience the 1987 Album in Audiophile Sound for the First Time:

Mobile Fidelity’s Numbered-Edition 180g 45RPM 2LP Set Captures the Perfectionist Details

1/2" / 30 IPS analogue master to DSD 256 to analogue console to lathe

The perfectionism involved in crafting Fleetwood Mac’s Tango in the Night reached a level of intensity experienced by few artists before or since. Commercially and creatively, the painstaking efforts paid off. Recorded over the span of 18 months, the triple-platinum album spawned four hit singles and put Fleetwood Mac back at the center of mainstream conversation. Its demands also ultimately forced its primary architect, guitarist-singer Lindsey Buckingham, to leave the group shortly after its completion. Was it all worth it? A thousand times “yes.”

Sourced from the original master tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton jacket, Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set of Tango in the Night presents the 1987 record in audiophile sound for the first time. Everything co-producers Buckingham and Richard Dashut sought to instill in the music — the exacting tones, gauzy textures, plush atmospherics, shifted harmonics, unique pitches, pristine acoustics, biting rhythms — can now be heard with elevated accuracy, range, depth, and detail.

Made under challenging circumstances, Tango in the Night is as much a universe of sound as it is an album. This reissue conveys that sonic spectrum in exhaustive manners that go beyond prior editions by playing with a combination of transparency, imaging, openness, and dynamics that provides uncanny insight into the meticulously layered vocal and instrumental tracks. Equally important, it also amplifies your connection to the elaborate melodies, contagious hooks, and airy highs that account for the album’s ageless pop brilliance.

As for the wondrous array of percussive accents, synthesizer elements, interlaced guitars, and lush choruses — all seemingly occupying the exact right place amid the soundstages and taking on shapes and forms that lend them a living, breathing quality? If your audio system is up to the task, the realism, presence, and warmth of Mobile Fidelity’s collectible edition will have you considering Tango in the Night from a new perspective — one that puts its lavish, gorgeous creations on a par with those from Rumours and Tusk.

Unlike those records, Tango in the Night began from a more individualistic perspective in that it sprang from what originally was intended to become a Buckingham solo effort. Instead, it remains the final album credited to the peak Fleetwood Mac lineup involving Buckingham, Stevie Nicks, Christine McVie, Mick Fleetwood, and John McVie. Though the participation of all the members varies from track to track, the cohesive arrangements and alchemic production on Tango in the Night suggest a unity that remains on a par with the band’s other landmark works.

Largely constructed from laborious methods that involved recording at half speed to achieve the desired sonics and tonal nuances, piecing together verses and choruses to attain seamless synchronicity, and Buckingham using a Fairlight CMI synthesizer/workstation in visionary ways, the songs pair electronic and acoustic elements to radiant effect. Tango in the Night also possesses light dance structures that resulted in several tunes being recast as dance mixes on extended-play singles. Above all, however, this is music that appears to float and cast dreamy spells.

Surrender to the frisky interplay of the opening “Big Love,” big pop punctuated with Buckingham’s back-and-forth “oh-ah” sighs that ping the Top 5 smash with innocuous sensuality and toe-tapping momentum. Delight amid the shimmering lights of “Seven Wonders,” whose shades and shadows shift amid Nicks’ raspy vocals and a large group chorus. Wrap yourself in the warmth of the weightless “Everywhere,” a flawless slice of hummable pop that topped with Adult Contemporary charts for three weeks and towers as an ode to the love everyone desires. Stare into the mysterious landscape of the title track (and dig the synthesized harp) just before it explodes, briefly ceding to a terse riff and locked-in grooves.

Tango in the Night teems with delightful surprises and well-honed specifics, especially when Buckingham and Christine McVie team together. In addition to the aforementioned “Everywhere,” the singer born Christine Anne Perfect plays a major role on four more cuts — all highlights — from the breathy, head-over-heels emotionalism of “Mystified” to the sweet, sweeping escapism of “Little Lies,” a cover-up of romantic despair aided by Nicks’ irreplaceable background vocals.

“If I see you again/Will it be the same,” asks Buckingham on “When I See You Again,” finishing up a song a longing-sounding Nicks had started while voicing words that many likely knew would resonate far beyond the confines of the heartfelt song — a goodbye wearing a faint disguise. Though Fleetwood Mac would never again reach the heights maintained throughout Tango in the Night, and members would go their own way, the album towers as a paean to what’s possible in the fields of pop, rock, and studio wizardry.

Homer Steinweiss has an incredibly storied career in music that started when he was just a teenager. He's drummed for nearly every "retro soul" group that mattered and his distinctive stickwork helped blend the raw-but-receptive soul sound back into the mainstream via the likes of Amy Winehouse & Sharon Jones. He's now one of the most in demand drummers in the world, playing with Jonas Brothers, Clairo, Solange, Adele, and Bruno Mars to name a few. With his debut solo release Ensatina, Homer is stepping to the forefront as both musician and producer. His new record is a re­ection of who he is now and a testament to how struggle often brings about a needed change. In 2020 Homer had to reckon with considerable emotional turbulence; at the same time that his band Holy Hive broke up, a personal relationship of 20+ years fell apart putting Homer in an uncertain place mentally. The fallout was signi‑cant enough for him to seek professional help. "I was going through these super manic highs and then very depressive lows," Homer describes. "And being in all that, it's just so tough to imagine that the other side is there, that it'll be ok." But, with time, professional help, and support from friends and family, Homer made it through and has been forever changed. This album is a product of that period of his life. The ‑rst song from these sessions, "Now That It's Over" perfectly sums up Homer's triumph through those tough times. It's a song of changing perspective and contemplation with haunting vocals from Hether and Flikka. "Paul (Castelluzzo_ aka, Hether), as a friend, saw me through these highs and lows," Homer points out. "I only had the one line, 'Now that it's over, I'm alright,' but he felt that lyric so much that he wrote all these sections and lyrics and basically completed the song. It was like he was writing to me." Hether also features on album standouts "Deep Sea", a modern love song, "Start Select", a juxtaposition of inspiration and melancholy, and "Forever and Ever and Ever and Ever" which is an incredible contemporary take on the B side soul ballad. Homer uses his innate gift for bringing seemingly opposing energies together on "Racecar Driver", pairing the vocals of Hether & long time friend and collaborator KIRBY to make a genre challenging banger. KIRBY also graces the album opener "Rollin'", an airy, warm-weather invoking song that her raspy voice perfectly compliments. He puts his drumming front and center on "So Get Up!", a bottom heavy infectious track that MINOVA's vocals turn into an instant hit that is sure to smash speakers. On "Wishing Well" & "Hide It Behind the Light I'm Shining Through" Homer is joined by girl named GOLDEN, who's unique voice effortlessly ‑nds the pocket in each tune. The man on trumpet, and fellow Big Crown label mate Dave Guy, puts his incomparable playing on the album closer "Goldie" which Homer says is the part of the movie where the credits roll. Making this album was a refuge for Homer and it put him back on track. Ensatina is a glimpse into the different energies and in­uences that make Homer tick. To say he was always much more than a drummer would be an understatement, and this ‑rst solo offering is just the beginning of his next chapter.

Homer Steinweiss has an incredibly storied career in music that started when he was just a teenager. He's drummed for nearly every "retro soul" group that mattered and his distinctive stickwork helped blend the raw-but-receptive soul sound back into the mainstream via the likes of Amy Winehouse & Sharon Jones. He's now one of the most in demand drummers in the world, playing with Jonas Brothers, Clairo, Solange, Adele, and Bruno Mars to name a few. With his debut solo release Ensatina, Homer is stepping to the forefront as both musician and producer. His new record is a re­ection of who he is now and a testament to how struggle often brings about a needed change. In 2020 Homer had to reckon with considerable emotional turbulence; at the same time that his band Holy Hive broke up, a personal relationship of 20+ years fell apart putting Homer in an uncertain place mentally. The fallout was signi‑cant enough for him to seek professional help. "I was going through these super manic highs and then very depressive lows," Homer describes. "And being in all that, it's just so tough to imagine that the other side is there, that it'll be ok." But, with time, professional help, and support from friends and family, Homer made it through and has been forever changed. This album is a product of that period of his life. The ‑rst song from these sessions, "Now That It's Over" perfectly sums up Homer's triumph through those tough times. It's a song of changing perspective and contemplation with haunting vocals from Hether and Flikka. "Paul (Castelluzzo_ aka, Hether), as a friend, saw me through these highs and lows," Homer points out. "I only had the one line, 'Now that it's over, I'm alright,' but he felt that lyric so much that he wrote all these sections and lyrics and basically completed the song. It was like he was writing to me." Hether also features on album standouts "Deep Sea", a modern love song, "Start Select", a juxtaposition of inspiration and melancholy, and "Forever and Ever and Ever and Ever" which is an incredible contemporary take on the B side soul ballad. Homer uses his innate gift for bringing seemingly opposing energies together on "Racecar Driver", pairing the vocals of Hether & long time friend and collaborator KIRBY to make a genre challenging banger. KIRBY also graces the album opener "Rollin'", an airy, warm-weather invoking song that her raspy voice perfectly compliments. He puts his drumming front and center on "So Get Up!", a bottom heavy infectious track that MINOVA's vocals turn into an instant hit that is sure to smash speakers. On "Wishing Well" & "Hide It Behind the Light I'm Shining Through" Homer is joined by girl named GOLDEN, who's unique voice effortlessly ‑nds the pocket in each tune. The man on trumpet, and fellow Big Crown label mate Dave Guy, puts his incomparable playing on the album closer "Goldie" which Homer says is the part of the movie where the credits roll. Making this album was a refuge for Homer and it put him back on track. Ensatina is a glimpse into the different energies and in­uences that make Homer tick. To say he was always much more than a drummer would be an understatement, and this ‑rst solo offering is just the beginning of his next chapter.

Mint Condition - A record label focused on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics, overlooked gems and never heard before material, mined from the last 30+ years of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London, Nottingham and beyond. Mint Condition have got their digging hats on to bring you exclusive heat and those rarer than rare jams that have been in your wants list for years. Dig in!

Forged in the fertile acid house scene of the late 80s, A Trifle Too Far comprises childhood friends Simon Ward and Tony Grimley from Hornchurch, on London's outer fringes in Essex. Their insatiable thirst for seeking out new sounds led them to countless shindigs, parties and raves, eventually inspiring them to craft their own music based on their adventures on the dancefloor.

Their studio collaboration culminated in the creation of the remarkable record you currently hold in your hands: 'Catch Your Ear / Meringueatang'. This two-track release, recorded in 1992, offers forward-thinking and fresh prog-house cuts, as rare as hen's teeth and as exhilarating as they were upon their original release over three decades ago. Catch Your Ear was expertly engineered by Evren Omer, boss of Essex-based techno bunker Strategy Records, while Meringueatang was helmed by Matt Clayden, one half of M&M and Acorn Arts and the proprietor of X-Gate Records, another stalwart in Essex's underground dance scene.

'Catch Your Ear / Meringueatang' remains the only musical collaboration between the duo. When Mint Condition approached them to reissue this highly sought-after EP, both Simon and Tony were surprised and delighted in equal measure by the proposition. Now, a few months down the line, we find ourselves with yet another top-tier addition to the MC reissue catalogue, fully licensed from the artists, mastered and cut by Keith Tenniswood at Curve Pusher, and available once again for purchase. Do not resist the beat!

Here, gleaming tensile techno forms clean, straight lines while scratchy acoustic guitars scuff up edges to produce

ghostly audio. Poetry is snatched from the overhead, removed from the overheard; words borrowed from the ether are

spun into dizzying new shapes, sometimes reappearing in new settings, twisted back to front, side to side. Each track a

very different room - some soundtracked by little more than metronomic kick drum and robotic voice, others deep in

layer upon layer of melody and euphoric noise - and each room unmistakably, uniquely Underworld. The only advice

from Underworld’s Rick Smith and Karl Hyde upon entering: “Please don’t shuffle.”

Strawberry Hotel features the singles ‘and the colour red’ and ‘denver luna’, as well as new release ‘Black Poppies’ - a

celestial love song, a hymn to the universe and to boundless, positive change. Ambient and beatless, Black Poppies is

a celebration of full dancefloors and the beauty of life itself.

Underworld are Rick Smith and Karl Hyde. Their peerless first album - dubnobasswithmyheadman - was released to universal acclaim in 1994. In the thirty years since that mould breaking debut, the band have established their reputation as one of the most groundbreaking and important electronic acts of all time, one that constantly pushes creative boundaries, twists genres, and refuses to stay still. In those thirty years, their music has soundtracked approximately 100,000,000 nights out, and the mornings after. In the past year alone, Underworld have played live in front of over half a million people across the globe.

Indignation Meeting are punky rail fans from Leeds. 15-year-old Peter is the driver - he's the drummer and lead singer, writes most of the songs, and also plays bass and trumpet on the album. The rest of the crew is his dad Michael on guitar, Hugo on bass, and with Keith, Heather and Sally often along for the ride when they play out. Here at DGHQ we loved listening to their self-released debut album Trouble In The Shed so much we eventually released it on vinyl for the first time. They now have a second album! Vocalist/drummer Peter very kindly talks us through the (train) tracks_ * "The Trainspotting Song" - Now, as a train geek, I go out filming trains an awful lot, and one thing you can't help noticing whilst out in the wilds of Staffordshire or the moors of Lancashire are a whole load of unnecessary 'Private Land' signs. This song is my response_ * "The Talyllyn Railway" - The history of the Talyllyn Railway is a fascinating one that I've long since wanted to explore, due to its unique nature as the first railway to ever be taken over by volunteers. This is the result! * "The Middleton Railway" - As a volunteer at the Middleton Railway, I had felt that a song needed to be written for quite a while. However, our guitarist Michael, ended up beating me to it! * "A Model World" - It was late one night, and I was lying on my sofa, trying my hardest to gain an ounce of enjoyment from 'Hornby; A Model World.' It was proving quite hard, due to the alarming lack of substance in the programme, so instead I decided that its name was rather good, and could be the basis of a song explaining my 'model world.' And, well, here it is! * "The Fifth Black Five" - This song is dedicated to the railway preservationists of old, who spent countless hours in cold, damp, dreary sidings, all to make sure us future generations would be able to enjoy the smell of a steam train. Thanks guys! * "Case Study" - This song is a commentary on the sensationalisation of disasters, when there's a massive tragedy and people at home just sit in their comfy sofas, watching the news and drinking tea. We know what's going on, but we can just choose to turn off the TV and forget it ever happened and continue with our lives. It also relates to the dehumanisation of those disasters you experience in school, where you have to write essays on someone who's just become homeless. It seems quite heartless sometimes_ * "Loco Motives" - This song is a fictional story of a man's personal struggle with a railway company, and the drastic measures he took to fix them_ * "That Would Never Suit His Grace" - With model railways, you always seem to get a few people who can never be satisfied with a layout or a model - no matter how hard someone's tried, there's always something to improve on, and they're never nice about it either. This song is a reality check for them_ * "Small Black Shunter" - This is our second homage to Zounds - Electrification would never be truly complete without its B-side. And this B-side is the story of a little loco who wanted to see the world. * "Rhydyronen" - Slowly but surely, we're going to pick off all of the stations on the Talyllyn Railway. Starting where Abergynolwyn left off, this is the story of our second favourite station on the TR. * "Typically English Day" - This is an homage to Mark Astronaut, a true punk genius who was gone before his time. Although there were many songs we could've picked to cover, it only seemed right to punk up one of his most popular tracks, and one of the main ones that got me into the Astronauts in the first place - Typically English Day, a heart-wrenching tale of an elderly couple trapped in the middle of a nuclear war, following their last moments before their inevitable demise. * "Just For The Record" - There is too much misinformation in the media these days, and one case I found particularly egregious was the gross misrepresentation of the strikers, who aren't so evil as the media want you to believe_

Esteemed US musician Mike Viola is bringing his new album Rock Of Boston to our shores with a handful of shows in November, forming a special pick-up band with members of The Zutons and The La’s for the tour. Mike Viola is a producer, musician, songwriter and singer best known for his work with Panic! at the Disco, Andrew Bird, Dawes, Ryan Adams and Jenny Lewis. However his solo career stands on its own, starting with a number of acclaimed records as the leader of New York based cult favourite Candy Butchers and 8 critically adored solo records. His original music has been featured on soundtracks for movies such as That Thing You Do!, Walk Hard: The Dewey Cox Story and Get Him to the Greek. Rock Of Boston was recorded over the winter of 2023 on 8 track ½” tape at Barebones, Viola’s home studio in Los Angeles. Once again joined by his friends Jake Sinclair (Weezer, Sia, Panic! at the Disco) on bass and Brendon Urie (Panic! At The Disco) on drums. For UK shows Mike has roped in Sean Payne (The Zutons) and Jay Lewis (The La's, Cast) to join Jake Sinclair and himself on the road. Viola says, “I’m always writing songs, or pieces of songs, or riffs. My writing process changes every song, so I never get trapped in a method. I let the song lead me. While I was on a world tour playing guitar for Panic at The Disco, I wrote the bulk of this record on the bus between soundcheck and showtime. On the days off, I’d find a recording studio wherever we were and I’d book studio time to sneak away to lay down a few ideas. When the tour finished, Jake and Brendon came home to LA and we never stopped playing music together. We just switched from touring with Panic! to recording Rock Of Boston pretty seamlessly without a break. Maybe that’s why the riffs seem bigger on this record, we had spent all those months in hockey arenas around the world playing big music.”