Buscar:time 2 back

Following the release of Drop Nineteens' first album in 30 years, Hard Light and the reissue of their 1992 shoegaze masterwork Delaware, we are excited to announce the official release of Drop Nineteens' 1991. This LP comprises the band's first two demo sessions which were mailed out via cassette to labels in 1991 finding their way to the UK music press and generating instant buzz and an ensuing feeding frenzy to sign the band. After signing with Caroline Records Drop Nineteens decided to write an entirely new record, Delaware, for their first official release, leaving the songs on 1991 behind, frozen in time. Swells of layered guitars and buried vocal harmonies adom these tracks, displaying Drop Nineteens when the comparison to their UK contemporaries like Slowdive and Ride were apt. 1991'S songs, recorded with a low fi charm, show an ambitious young band capable of writing songs filled with texture and hooks, on the eve of their breakthrough with Delaware.

Murder by Death has earned a much needed break. The 25 years the band has spent on the road have been catching up to them lately, so they’ve decided to take a step back from touring before it grinds them to dust. This year, they’ll be embarking on a massive farewell tour, hitting more than 50 cities in the US, UK, and Canada. And as their parting gift, they are leaving behind their tenth album, Egg & Dart. Murder by Death has accomplished more than they’d ever dreamed since forming in Bloomington, Indiana, in 2000, when Turla and cellist Sarah Balliet started the project with fellow college dorm-mates under the name Little Joe Gould. They traveled the world several times over, released ten studio albums, built an intensely dedicated following, and shared stages with artists from a wide array of genres.

Johnny and Robert began work on the album in the first weeks of the pandemic, wanting to make music that sang of those dangerous, disorienting spring days; when birdsong was brighter –– and the sense of bewilderment more powerful –– than any of us had known before. They drew inspiration in part from The Epic of Gilgamesh, the oldest surviving work of world literature; an epic poem from Ancient Mesopotamia that contains the earliest version of the Flood Myth. To Johnny and Robert, Gilgamesh resonated eerily with the present moment –– and it catalysed their song-writing. For Gilgamesh is a story of friendship, love, loss, grief, bad governance and good dreaming; of natural disaster and environmental crisis. It also contains the first recorded act of human destruction of the natural world: when Gilgamesh and Enkidu travel to the Sacred Cedar Wood, slay the guardian spirit of the forest, and cut down the trees with their axes, thereby bringing catastrophe upon themselves. Johnny and Robert wrote the album between March 2020 and February 2021, during a year in which we all wandered unsure of our path, lost in the cedar wood. The songs were composed in large part as a correspondence, through a back-and-forth of notebook pages, voice-recordings and WhatsApp-messages, at a time when lockdowns made meeting in person impossible. The first eight songs were recorded in an off-grid cottage deep in a Hampshire forest, with the sounds of chainsaws felling trees drifting in through the windows along with the birdsong. The result is an album at once urgent and ancient, which fuses poetry, landscape, myth and music into something unique. These are songs that ring with hope, love and sadness –– and one need not know anything about The Epic of Gilgamesh to be touched by them.

The road is a wrinkled timeline. Uncanny flatness conceals unfolding textures, transparent layers and open tabs. The truck cuts the landscape, tracing the road with a line of mad logic that composites time, space, thought. On “Le Camion de Marguerite Duras,” French duo Jean-Marie Mercimek have returned with a road movie for the blind. Composed and recorded by Marion Molle and Ronan Riou over six years across France and Belgium, this unlikely distillation of microtonal MIDI composition, French B.O., and post-punk chansons brazenly expands the duos’ penchant for lowkey narrative spectacle.

Across “Le Camion,” sounds form a theatrical screen. Our ears are the curtains drawn wide and listening with a look that pans across the shot. No title cards, they cut straight to action. The truck is a camera, zooming and framing the tracks as scenes. Songwriting and sound design blur in a tangle of delicate economy. The balance of mutant music-boxes and dewy miniatures recalls otherworldly hits from Gareth Williams’ Flaming Tunes, Residents, and catchier corners of the Lovely Music catalog. Strange, sure, but this flick is never quite a cartoon. Molle and Riou’s vocals dilate into a cast of very human characters. Voices sing borrowed texts like untrained actors (playing themselves, in fact) stepping into the frame once before disappearing forever. And when they’re gone, you miss them. But here in the truck, it all comes back again under the cyclic spell of repose in perpetual motion. Turn up the radio and appuyez sur le champignon. - Turner Williams Jr.

Moving Day captures André 3000 in a very important time. Before New Blue Sun was recorded, filmmaker Dexter Navy films André in Venice Beach, California. The day happened to be when André was moving out of his home and into a new place. The score for Moving Day is a weaving of field recordings from the date of filming, an impromptu Q&A by Navy to André, and post studio recording performed forward then backward while watching the film. The additional track ‘Tunnels of Egypt’ is an unreleased New Blue Sun sessions recording. A x3 trk, 31 min piece of work on Ltd Black LP Vinyl. Marketing activity.

Marconi Union, one of the most influential names in contemporary ambient and electronic music, announce their twelfth studio album, The Fear of Never Landing, set for release 6th June via Just Music. The news is paired with the release of first single Eight Miles High Alone, out 20th March on all major streaming platforms.

Known for their ability to craft cinematic, immersive soundscapes that blur the lines between ambient, electronic, and experimental music, the Manchester-based duo once again push the boundaries of sonic exploration. The Fear of Never Landing takes us on a dynamic journey that’s atmospheric, diaphanous and never short of mesmerising. While the new record is certainly infused with a sense of hope, there’s more than a soupçon of anxiety too, as the title suggests.

A 55-minute odyssey presented as one seamless piece divided into nine movements, they transcribe the nexus of modern living into a mostly wordless odyssey. The album encapsulates Marconi Union’s ability to translate the complexities of the human experience into sound, all while maintaining a stunning sense of cohesion.

While the music feels effortless, the creative process was anything but. During the two years it took to complete the album, members Jamie Crossley and Duncan Meadows faced creative struggles that even led them to briefly question the band’s future. A pivotal moment came when they performed a live soundtrack to the 1975 skateboarding film Downhill Motion, rekindling their connection to atmospheric composition. By testing new material live and returning to their roots, Marconi Union redefined their creative process, leading to some of their most emotionally impactful work to date.

“We’ve always made atmospheric music but we had started to lose that aspect. Other than some rough ideas, we had no sense of what we were doing anymore, a kind of musical wilderness. Eventually a couple of things fell into place, and it was like, ‘Ah, okay.”
With a foundation to build upon, they went back to basics and decided to take their time going forwards. “We tried out a few new tracks live which gave us the opportunity to see what worked and what didn’t. We've never given ourselves that luxury before.”

The first track to be shared, Eight Miles High Alone, is a mesmerizing sequencer-driven track that builds an immersive, atmospheric soundscape. Its hypnotic pulses and intricate layers evoke a sense of solitude and weightlessness, perfectly capturing the album’s blend of tension and introspection. “Eight Miles High Alone was the first piece that we managed to complete and helped to inform our approach to the rest of the album.”

Formed in Manchester in 2003, their debut album, Under Wires and Searchlights (2003), introduced their signature sound, but it was their 2011 release of Weightless that brought international acclaim. Developed in collaboration with a sound therapist, Weightless was scientifically recognised as “the world’s most relaxing song”, praised for its ability to reduce anxiety and heart rates. With over 900 million streams and widespread coverage across media, the track remains a cultural phenomenon.

Over the years, Marconi Union has continued to evolve, producing critically acclaimed albums such as Signals (2021), Ghost Stations (2016), and Tokyo+ (2017). Their work has been hailed for its emotional resonance and sonic depth, with The Quietus noting their ability to find “beauty in the bleakest places” and The Sunday Times describing them as “amongst today’s most talented musicians.”

Beyond their studio albums, Marconi Union has collaborated with visual artists, provided soundtracks for installations, and remixed notable acts like Max Richter and Vök. Their invitation by Brian Eno to perform at Norway’s Punkt Festival further cemented their reputation as innovators in the ambient music sphere.

With The Fear of Never Landing, Marconi Union once again showcases their unmatched ability to create immersive soundscapes that resonate deeply. The album reaffirms their position as masters of atmosphere and emotional storytelling, making it an essential addition to their storied catalog.

Reissued vinyl of 2023 album HELLMODE.Jeff Rosenstock makes increasingly chaotic albums for an increasingly chaotic world. With each passing year, it feels like the temperature of the universe boils five degrees hotter, and with each new album, Rosenstock's music grows more unwieldy and lawless. Louder, faster, more feral. Which brings us to 2023_a planet on fire, a mere 90 seconds to midnight on the doomsday clock, and the release of Rosenstock's appropriately titled, anarchic record, HELLMODE. "To me, the album feels like the chaos of being alive right now," Rosenstock says of HELLMODE. "We're experiencing all these things at the same time that trigger our senses, and emotions that make us feel terrible. We're just feeling way too much all at once!" But for all its textured turmoil, there are also surprising glimpses of clarity and grace to be found in HELLMODE, when Rosenstock deliberately slows things down in places that are prettier and more delicate, rare moments of shelter in the storm. Which only makes it more rewarding when these moments unexpectedly unravel and spiral back into extreme, manic chaos, like abruptly being flung into a Nintendo game on level 99. Vinyl is transparent black ice coloured!

Debut album by Ydegirl staging modern day R&B and pop elements in a Nordic baroque scene. The destiny of Yde resonates through the music next to strings, woodwinds and electronic drum patterns in unique sonic arrangements, like a timely contraction of past and present. On clear swirly vinyl colored with swamp extract + double sided 70x100 cm poster with album art and lyrics

Crafted entirely on an analog monophonic synthesizer with no overdubs, Pièces Monophoniques is a tribute to simplicity in an era of limitless digital possibilities. Since his debut album, Music For Prophet (Les Disques du Festival Permanent, 2017), Majorca-born composer Marc Melià, now a long-time resident of Brussels, has been redefining the contours of electronic music through a minimalist, reductionist approach. Much like a solitary hike through the vastness of mountains, where one carries only the essentials, Melià’s work invites listeners on a journey stripped of excess, focusing instead on the purity of sound and intention.
While some have dismissed monophonic music as overly simplistic, others have embraced its distinct charm. Historical records, such as those by Johannes Quasten, reveal that early Church leaders were drawn to monophonic music because it resonated with the era's cosmological beliefs, highlighting the harmony and unity of all creation. In an age of digital abundance, Marc Melià deliberately embraces constraint, crafting an album that thrives within a limited palette of choices. Yet, from these self-imposed boundaries emerges a stunning universe, brimming with rich textures and elegant harmonies. For his debut album, Melià worked exclusively with a Sequential Prophet. With Pièces Monophoniques, his third LP, he returns armed solely with an analog monophonic synthesizer and handcrafted MIDI sequences etched directly onto a single stereo track. These recordings seek to uncover beauty within the boundaries of limitations and simplicity, rejecting any embellishments that are not essential. Melià presents the bare skeleton of music, highlighting the power of absence and silence as creative forces. Like the hidden mass of an iceberg, what is not heard becomes as significant as what is heard.
The album navigates the boundary where the quest for an uninhibited emotional response intersects with the mechanical sounds generated by synthesizer circuitry. Despite being a collection of beatless tracks, a pulse occasionally surfaces, like in the closing piece, "224 Steps. A sharp sequence blended with multiple delays and reverbs creates the vaporous celestial specter of multiple voices in "Illusions of Polyphony", while "Échoes et Fantasies" conjures the illusion of dual harmony. The expansive reverbs and silences between the euphoric synth phrases in "Overture" transport us to an imaginary magestic landscape shaped out of an electric field. "Resonances," a one-note drone-like sequence, embodies the album's aims as a series of resonances created with the synth filter emerge from the fundamental note.
"Pièces Monophoniques," aims to contribute to a tradition that dates back to the dawn of humanity. After all, there is no denying that the earliest music crafted by humanity was monophonic, from the soothing lullabies sung to newborns to Gregorian chants, traditional labor songs, and the repertoire of solo compositions by countless composers.

This is not the end of a dark alleyway in some US city, this is not the bottom of a platform heel in England, this is not the back corner of some dusty drawer at a record fair in Holland. These are not the places you’ll find rock and roll. This is Quebec: A different sensory perception of rock and roll. A heightened awareness of the highest highs and the lowest lows. This is Belgium with snowmobiles, Catholic Texas, Ugly France. All the crumbling highways, the coldest beers, and the loudest joints. Guitars do different things in Quebec. PUFFER shimmy across the invisible barricade between Montreal and the rest of the world not just as another crop of punks but as the great descendants and inheritors of modern greats like INEPSY’s “Rock and Roll Babylon” and ANNIHILATION TIME's “II.” Loud, brash, unrelenting. You’ll go deaf before you get bored of it.
Self produced, self recorded, and mixed by the band, this is the vanguard of punk that has lived long beyond it’s moments of origin. This pure blast of 1979 by way of the hellish weimar end-times of 2025 never made the necessity of punk rock feel so real.
FFO SLAUGHTER AND THE DOGS, the 222s, THE DISCORDS, MOTORHEAD, INEPSY, AA Restaurant, Montreal pool room, Katacombes, and the eternal flame of punk in La Belle Provence.

The legendary London based Get Fucked is set for highly anticipated reissue, bringing back two timeless classics and sought after tracks from the early 2000s. This special edition features a meticulously remastered version of the classic Charlie’s Knickers, alongside a previously unheard take on Nils Hess’ Alcohol Is My Favourite. Expertly restored and reimagined by the revered reissue series Endell Street, this is a pure gold collector’s number.

José James just can’t leave the ’70s alone. Or maybe it’s the other way around. The singer, songwriter, bandleader, and producer was born in 1978, after all, but over his past 17 years of fundamentally forward-looking, blessedly mercurial music, he keeps getting pulled back in. His 2013 Blue Note breakthrough No Beginning No End revisited the hooky, funky, jazz-streaked songcraft of the time through a modern crate-digger’s ears. On 2020’s No Beginning No End 2 — James’ debut on his own Rainbow Blonde Records — he went back through the portal with a small army of fellow celebrated eclecticists. Just last year, there was the album 1978, a richly layered love letter to said year that felt deep, luxe, and cool. It’s as if — vested with the restless fluidity of jazz, the tuned-in sensitivity of soul, and the revisionist grit of hip-hop — he is trying to play his way into the exact moment when, culturally speaking, everything was about to change.

“I'm still so fascinated by the tension in that era of all these seemingly clashing things happening at once,” says James. “The loft scene, the jazz scene, Elton and Billy, Bob Marley, the Isleys, Funkadelic, disco being this behemoth in a way I don't think we even understand today… And then there’s where everybody went from there — into hip-hop, into punk rock, exploding jazz. It's like a summation of the ’70s, and it's about to transform. It's the peak of the rollercoaster.”

Literally breaking into history is impossible, of course, but James’ new LP, 1978: Revenge of the Dragon, does feel like breaking through or bursting out. In loving contrast to its predecessor, the fresh set plays hot, like a Friday night out at the Mudd Club in its prime. Though he’s dreamt up albums with collaborator counts approaching the dozens, James gathered a tight crew for this one. Himself and Taali on vocals. BIGYUKI on keys and analog synth. Jharis Yokley on drums. Bass split between David Ginyard (Blood Orange, Terence Blanchard) and Kyle Miles (Michelle Ndgeocello, Nick Hakim). And an all-star brass lineup: Takuya Kuroda on trumpet, young lion Ebban Dorsey on alto sax, and genre-spanning ronin Ben Wendel on tenor sax. They set up in Dreamland Studios near Woodstock, a restored 19th century church, and recorded live to tape, two tracks, drums pushed to the max — “a small homage to the rise of punk,” says James.

In that place out of time, the band laid down a handful of choice covers and some wild originals, like the single “They Sleep, We Grind (for Badu),” a decades-collapsing cut powered by an ugly groove. Steeped in dub, funk, and sampledelia, James chants an artists’ mantra (“They sleep, we grind / Man, f--- your nine to five”), makes lyrical callouts to Marley and Nas, and channels everything from George Clinton to J Dilla, not to mention the earthy mysticism of Erykah Badu. In 2023, James released and toured his Badu covers LP, On & On. “Living in her musical house for a year was transformative,” he says. “This is my summary of everything I learned through her, tying it to this idea that artists move differently. We are in society but we are outside, too, looking out and in at the same time. Our hours are different, our schedules are different.”

To that point, James and co. actually began each day in the woods, filming the album’s visual companion piece, Revenge of the Dragon, an honest-to-God kung-fu short complete with bad overdubs, training montages, camera tricks, and plot twists. The film pays tribute not only to the genre’s greatest year (1978, of course), but also its cinematic exchange with Blaxploitation, plus James’ own recent Shaolin training and admiration for Bruce Lee as a culture-bridging force (the LP’s cover recreates an iconic shot of Lee). On top of that, says James, “We had this immediacy in the studio. Live, one take, no overdubbing. I feel like that's where the martial arts piece comes in, where it's about being relaxed but also aware, and there's immediacy in your movements.”

Across the project, tribute takes that refracted, multifaceted form. From his personal late-’70s playlist, James chose four covers reflecting the era’s disco-fied churn: the MJ-meets-Quincy dancefloor masterpiece “Rock With You”; Herbie Hancock’s prescient vocoder fever dream, “I Thought It Was You”; and a pair of Black-radio hits from two bands whose fans typically wouldn’t have been caught dead in the same stadium: “Miss You” by the Rolling Stones and the Bee Gees’ “Inside and Out.” All of it gets filtered through a contemporary Black (and beyond) lens, coming out loud, free, funky, and buzzing — dynamic, yes, but also of a joyous piece.

1978: Revenge of the Dragon transports you to a crowded room where all this is playing out in real time. That feeling is helped out by opener “Tokyo Daydream,” a bass-driven swan dive into a neverending night of boutique bar-hopping and neon revelry. Later, “Rise of the Tiger” finds James bringing rare braggadocio to a propulsive track with growling synth lines and a hunger for whatever comes next. And then there’s the closer, “Last Call at the Mudd Club,” which with its upbeat energy and string of Stevie-inspired pickup lines, evokes the sort of unabashedly elated track the DJ throws on at 3:56 a.m. before everyone is kicked out. “I wanted to leave the album on that note,” says James. “If this was a night out in New York, this would be the last thing you hear before you get in that taxi and go back to your apartment.” Or, perhaps, back to 2025.

DJ Goce is once again coming with the super funky goods and takes these 2 all time dancefloor classics down a different lane. On the A side he goes back to where LL didn’t think he was gonna go back to in ’89, but in a straight Brooklyn way, yet he picks up that west coast pop lock feelin’ and injects new life into this notorious bouncer. The B side gets down and dirty as Goce rocks this upbeat Staten Island classic with a funky twist takin’ it straight to the dancefloor. Both of these reworks will kill in the dance and are guaranteed to have people moving back and forth and all over the place!

Given Massive Attack's background, it was almost inevitable that they'd release a dub overhaul of one of their albums at one point. That time came in 1995, when British sound system legend Mad Professor - responsible for some of the greatest UK-made dub records of all time - put his distinctive twist on Protection. 21 years on, the set still sounds sublime: a radical translation that frequently bares only a passing resemblance to the Bristol band's original. It's packed with highlights, from the spaced-out, dub-house rework of "Spying Glass" ("I Spy"), to the ricocheting percussion hits and twinkling pianos of "Weather Storm (Cool Monsoon)", and creepy, delay-laden string surges of "Eternal Feedback (Sly)".

A Side – Peg (Smoove Multitrack Rework)

Smoove gets his hands on the ultimate multitrack studio separates and goes to town peeling back the layers, revealing crisp drums and iconic slap bass from Chuck Rainey, rearranging the structure to spotlight the lush backing vocals -A fresh spin on a classic, with every nuance shining through.



B Side 1 – Baby Be Mine (Smoove Multitrack Rework)

Smoove dives in from the start, isolating Rod Temperton’s iconic parts, showcasing the synth bass line with groove-heavy drums while drawing out every breath and detail in MJ’s vocals. A loving, funk-infused rework.



B Side 2 – This Time (Smoove Multitrack Rework)

Smoove takes a bold approach, stripping the track down to its essentials, creating an extended live drum intro section dubbed in space echo effects. Original vocal samples and acoustic guitar breakdowns with additional fender rhodes piano provide contrast, while the string section steals the spotlight in a stunning finale.

Shell Company & Older Brother tap into the Mancunian continuum to deliver heavy sounds for heavy times on 'Shards', their debut release on Numbers.

Born from voice notes sent between Manchester, London and Lisbon, the release took shape remotely before being recorded inside Manchester’s The White Hotel, then refined in the sonic labs of Numbers and La Chunky in Glasgow.

Set across one night, 'Shards' is the fragments of the never ending process of breakdown and placing pieces back together. Along four tracks, the voices of Shell Company (Rosabella Allen) and Older Brother begin far apart, then argue, reflect and collide, trying to find the ground they stand on, with the music laid by brothers Rob and Chris Banks. The two voices work both together and against each other, rendering images that could only exist in limbo: running taps, cans on the floor, and crumbling walls.

Shell Company & Older Brother say of the release —

“Shards is a scream that sings softly. A record that shifts between confusion and sense, hopelessness and hope. Despite moments of intense and perfect connection, the shards rarely fit. Shards is a record not about giving up, but giving in. A recording of the victory that comes from surrendering to float, all because 'it will all make sense one day'. Shards is about love that begins and ends with broken pieces."

EEE are back at it again, turning up the pressure on a ‘90s R&B vocal you thought you knew—only this time, it’s reimagined in a whole new way. This bass-heavy roller hits deep, fusing seductive grooves with that signature R&B swagger for an irresistibly naughty twist.

DJ Support: DJ Jazzy Jeff, Mark Knight, Michael Gray, Mousse T., Brian Tappert, Hector Romero, Don Carlos, DJ Fudge, Moodena, Moplen, Birdee, Hotmood, Souldynamic, Ricky Montanari, Husky.

Micky More & Andy Tee's Groove Culture is back with more badman Funky madness and this time it is Shabi in charge, a new emerging talent from Berlin. 'Funky Grooves' is a four-track full of disco goodness and groovy house with a generous amount of funk.

Mysticisms is delighted to present the music from one of the inspirations for the whole Dubplate series, the lesser known, but admired Digi Dub label. Hailing from the late 80s / early 90s South-East London squat scene, the music of label head Lee Berwick and cohorts was unlike any other at the time. Not simply a retake on digital dub emanating from Jamaica, Digi Dub mixed the heritage of reggae with the alternative-culture of Britain to forge a unique version.

Inspired by punk and the early electronics of the likes of A Certain Ratio, Cabaret Voltaire and Throbbing Gristle, Berwick came to music production later, after first quitting a career as a computer programmer to travel through Asia, returning after several years just as electronic “computer music” was gaining a fundamental new lease in 1988. A regular at Jah Shaka gigs over the burgeoning rave scene of the time, he steadily built a studio centered around the Akai Sampler.

Based, at the time, in South-East London, it’s lack of underground “Tube” lines and challenging transport links, helped create its own social and music eco-system. Squatted houses, shops, clubs and parties all thrived around the triangle of Bermondsey, New Cross and Camberwell. After meeting Kenny Diezel and the Mutoid Waste Company, he started to formulate his “dubby electronic sound” by literally play live to thousands of wide-eyed Ravers at Mutoid Waste parties.

Recording as Launch DAT, the first tracks with Kenny formed, soon joined by Harry and Nick, the trio progressed from building a sound system to L.S. Diezel being created. Friends since their teens Harry and Nik progressed from playing in bands, jamming Sly and Robbie dubs to moving from the countryside of the Home Counties to urban Peckham and into the orbit of Mutoid Waste and the squat and party scene.

Progressing to include Atari S1000HD, Akai S3200XL, Alesis Sequencer and Roland 303, the sound expanded but the raw spirit remained. The early recordings with Berwick, in the beautiful “Lovers style” that is For The Love Of and its stripped-back instrumental “Stepper” dub accompaniment in Bad Boys, as well as an early take on take on the merging of digital dub and hip hop in Skunk Funk, all capture the essence of that London period.

However, the inclusion of the seminal Suicidal Dub, that appeared as the title to their debut album and was recorded on a bus a few years later after Mutoid had relocated to Rimini, Italy, offers a glimpse to the future. Heralded as a proto-dubstep classic it has long been sought after and its inclusion makes for the essential.

Mutate The Mystery.