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The fourth and final album by The Faces, originally released in 1973 was their only effort to top the UK albums chart and featured some of the band’s most popular tracks including the title track ‘Ooh La La’, ‘Cindy Incidentally’, ‘Glad and Sorry’ and ‘Just Another Honky’

Joe Allotta's solo project (drummer, composer, and singer) was born from his need for freedom of expression after numerous experiences
as a session musician for artists such as Davide Shorty, Johnny Marsiglia, Funk Shui Project, Mario Biondi, Leburn Maddox, Giles Robson,
Amy True, and Imaani (Incognito).
His compositions embody the desire to make jazz, in its various forms and influences, accessible to the widest possible audience without sacrificing the impact of an engaging and captivating live performance.
Joe Allotta blends hip hop, funk, and drum 'n' bass with contemporary jazz, perfectly blending vocals with his performances. He combines
his rhythmic exploration with a sweet and surprising voice, capable of lending further emotional depth to his music.
"Transition" is a musical journey that reflects a life in constant motion, where everything seems fleeting, fast, and fleeting, immersed in the
frenetic rhythms that surround us every day. The title also encompasses a more intimate dimension: the growth of his artistic identity. Joe is
no longer just a drummer and composer, but also a singer. His intense and surprising voice intertwines with his drumming in a continuous
dialogue, opening up new expressive possibilities and adding further depth to his musical language.
The album was produced in the studios of the Sghetto Club in Bologna, where Joe, together with his producer Jacopo Trapani, spent weeks
researching and experimenting: rehearsing, playing, processing and synthesizing sounds, developing and arranging ideas, thanks also to
the collaboration of extraordinary musicians. The result is a work that blends instinct and research, intimacy and openness, movement and
transformation: exactly what Transition aims to convey.
CREDITS
Giuseppe "Joe" Allotta: Compositions, Vocals, Drums, Bass, Keyboards
Jacopo Trapani: Compositions, Recording, Mixing
Chicco Allotta: Piano (Track 1)
Giovanni Galdo: Bass (Track 1)
Riccardo Dalle Vedove: Trombone (Track 1)
Piergiorgio Perrella: Guitar (Tracks 2, 5, 8, 9)
Elijah Lee Last Jacinto: Piano (Track 6)
Matteo Diego Scarcella: Sax (Track 6) Francesco Brini: Master

Wishbone Ash's self-titled debut album, released in 1970, introduced a distinctive sound that would become highly influential in British rock. This re-issue faithfully replicates the original UK release in it's gatefold sleeve and is pressed on 180gm vinyl. Blending blues-rock, folk melodies, and emerging progressive elements, the album is defined by the bands signature twin-lead guitar approach, with Andy Powell and Ted Turner weaving melodic, harmonized lines rather than relying on a single dominant lead. Tracks like Blind Eye and Queen Of Torture balance hard-edged riffs with spacious, reflective passages, while acoustic moments add a pastoral, almost medieval atmosphere. The rhythm section, understated yet precise, allows the guitars to breathe and develop organically. Rather than chasing commercial immediacy, the album favours mood, texture, and musical interplay, giving it a thoughtful, exploratory character. As a debut, Wishbone Ash feels confident and forward-looking, laying the groundwork for the bands later classics and helping to shape the twin-guitar sound later adopted by countless rock and metal acts.

Rob Smith, RSD is not only a successful dubstep producer and pioneer of the Bristol sound, but also a very popular deejay travelling the world sharing his music. Coming from a reggae background and well-versed in sound system culture, Rob kept some of his best productions for his exclusive use when deejaying, the only way you would hear these gems was being played in one of Rob's sets. Fortunately, we've managed to persuade Rob to let Reggae Archive Records share these dubplate specials with a wider audience on a limited-edition vinyl LP. Compiled and sequenced in conjunction with Rob, the LP features nine tracks newly edited and mastered by Rob to enhance the bass playback on vinyl - it's cut heavy!
The tracks were recorded between 2006 and 2011, a time when one strand of dubstep heavilyembraced reggae and dub. Rob calls these tracks reggae infused dubstep and that's what they are, but Reggae Archive Records is a reggae label and this selection of dubstep tracks will most certainly appeal just as much to reggae and dub fans. Fusing dubstep beats, reggae samples, and seriously heavy basslines, this is a joyous celebration of musical cross fertilisation that has been tried and tested in clubs worldwide. In keeping with the dubplate origins of the tracks, we have designed the labels to replicate an old school acetate, while the sleeve pays tribute to seventies pre-releases albums with a replica stamp giving just the artist and title on a plain white sleeve with aged effect.

2024 repress

In February 2021, Jan Jelinek's seminal album "Loop-Finding-Jazz-Records" turned 20. The anniversary repress, a double LP with two bonus tracks (B-sides from the Tendency EP, 2000), is a little late to the party.
What the press said about Loop-Finding-Jazz-Records:
“Don’t be misled by the title, though for there isn’t a finger-snapping rhythm c bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm.” (Alternative Press)
“The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people’s arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas.” (ATM)
“Jelinek’s sound evolved out of his dislike for (and inability to play) keyboards.” (RPM)
“Jelinek has abstracted his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moiré laid atop a dub Techno framework. (...) Jelinek might as well have sampled a horn player’s hissing intake of breath – it would have been ‘jazz’ enough for his purposes.“ (The Wire)
“It’s a perfect inversion of conventional music, a sonic negative. Everything that would typically be foreground is moved back or pushed off the screen altogether, and the flecks of sonic debris that would normally be covered by other sounds are left to carry the melody and rhythm.” (Pitchfork)
“All you need to know is that these onomatopoeic non-specific songs (...) are warm, paradisical creations”. (NME)
“Listen carefully and you’ll hear textures slowly unfolding and mutating. Presuming you’ve not fallen asleep of course.” (iDJ)
“At times, it’s all a bit dripping tap Japanese water torture; so sedentary it drowns in its own motionlessness” (DJ)
“Loop Finding Jazz Records' is a genuine modern classic whose re-release is anything but a cynical mortgage repayment exercise. Consider this a second chance, then pretend you had it all along.” (Boomkat)
PS:
“I’ve been fortunate enough to see Jan Jelinek live once, at Tonic NYC (...). Wearing a black and white striped shirt, he looked like a nihilistic Charlie Brown.” (beachsloth)

Logical Absurd is very proud to present the 20th Anniversary of the album "She And Me Fall Together In Free Death" by Nurse With Wound. "She and Me Fall Together in Free Death" is probably the most approachable, largely "musical" album that NWW has released since Rock N' Roll Station. It's also one of his strangest concepts, a marriage of trance inducing Krautrock grooves with a traditional jazz standard and some jarringly atonal musique concrete. Side A is the 20- minute title track: a slow-motion jam reminiscent of of one of Can's sidelong tracks on Tago Mago or the more avant-garde grooves of Tony Conrad and Faust's Outside the Dream Syndicate.

The propulsive Jaki Liebezeit drumbeat is the foundation for a long jam session with what sounds like a dijderidoo and layers of guitar feedback. It's a massive, heavy sound, the kind that Julian Cope would devote a whole chapter to in his "Kratrocksampler". Side B is one long piece with three distinct movements. Beginning with those familiar, World Serpent-trademark windchimes, the listener is quickly ushered into Staple- ton's singing debut (!) in a rendition of the oft-covered traditional jazz ballad "Black is the Color of My True Love's Hair" This was a favorite of the recently deceased Nina Simone, and also of the avant-jazz screamer Patty Waters. Nurse With Wound's version is backed by cello drones, repetitive guitar strums and tambourine, sounding very much like The Velvet Un- derground's "Venus in Furs".

It's such a treat to hear Steven Stapleton's multitracked vocals cover this classic song, and this eerie version rates as one of my favorites. This song and the title track prove to the naysayers that Nurse With Wound is equally adept at rock n' roll songcraft as he is at demented sound collages. The creepy jazz cover seques into "Chicken Con- cret (For Missy E)", a truly warped tape-edit job that juxtaposes chicken squawks and sythesized birdcalls with random bleeps, speaker hiccups and gongs.

Nairobi-born Berlin-based sound artist Joseph Kamaru, aka KMRU, shares his new work Stupor on the new Helsinki-based label Other Power. Commissioned by the Helsinki curatorial and commissioning agency PUBLICS, Stupor is comprised of three original long form tracks; "CRP-12", "Even a Tear", and the title track "Stupor". The tracks on the album are speculative notes to social architectures and environments the artist has traversed.

Helsinki's We Jazz Records presents "Ateneum 2019", part 2 of their ongoing "We Jazz Live Plates" series documenting the label's live activity. Recorded at the historic Ateneum Art Museum in Helsinki during spring 2019, the intense live compilation brings together three acts on the label's roster: Timo Lassy & Teppo Mäkynen, OK:KO and Alder Ego, each performing two tracks here.

OK:KO opens proceedings with their sound electrified by Toomas Keski-Säntti changing from piano to Fender rhodes, a little touch that opens up new avenues in their sound. The band who made a big splash with their 2019 debut album "Syrtti", present energetic new versions of the title track and the looping "Piik". Alder Ego, led by drummer Joonas Leppänen, shifts gears with a new deep version of their 2018 album track "Cubism", and add a new track "Mystery Room Nr. 6" into the mix. Timo Lassy & Teppo Mäkynen strecth out their compact tracks "Fallow" and "Goldenrod", which grow into new lenght and depth in the live setting.

"Ateneum 2019" released together with "Lonna 2019", We Jazz Live Plates vol. 3, is an inspiring example of the active and high quality jazz scene in Helsinki.

St. David Unleashes 'Deep House Damage EP' on Definitive Recordings.

Definitive Recordings is proud to present a brand-new four-track outing from Italian house innovator St. David, titled 'Deep House Damage EP'. Following his acclaimed remixes earlier this year for label classics like 'Good Music' (John Acquaviva, Dan Diamond, Alex D'Elia, Nihil Young) and 'Do It' (Las Americas), St. David now steps forward with a full EP that delivers nothing less than pure oldschool house fire.

The release opens with 'Touch Me (Sexy Hard Dub)', a shuffling house cut with a vintage edge, driven by a rolling bassline and a sensual spoken-word female vocal that sets a playful, club-ready tone. 'I Like It Deep' heads into deep house territory, pairing organ stabs and a steady oldschool beat with both male and female spoken-word phrases, creating a hypnotic, afterhours mood. On 'Dub Swagin'', the energy kicks back up with stomping drums, chopped samples, and filtered percussion. All wrapped in unmistakable 90s house flavor. Closing things out, 'Gonna Work It' is a peak-time smasher stacked with classic vocal samples and grooving organ chords that lift the track into euphoric territory.

Born in Bari, St. David (real name Davide Disanto) has carved a reputation as one of today's most authentic purveyors of oldschool house. Deeply inspired by the American house scene, his tracks blend groove, funk, and raw analog warmth, consistently topping vinyl charts and earning support from global heavyweights like The Martinez Brothers, Riva Starr, Jovonn, and Chris Stussy. He is the founder of Theory of Swing Records, a vinyl-only label dedicated to preserving the magic of 90s house. His music has been featured on Cinthie's DJ-Kicks and he has released on respected imprints including Snatch! Records, Body N' Deep, Heist Recordings, Skylax, and Let's Play House.

With 'Deep House Damage EP', St. David confirms his role as one of the most vital voices in contemporary house, channeling the spirit of the past into tracks made for the dancefloors of today.

Rising from Warsaw’s underground, Infernal Flame conjure a bleak and uncompromising vision on their debut full-length The Grave. Originally self-released digitally on February 13, 2025, the album now sees its first physical incarnation through Apostasy Records - soon available on CD, vinyl and cassette. Across nine tracks, the Polish quartet fuse the weight of cavernous death metal with the scorched atmosphere of black metal, forging a sound that feels both raw and deliberate - a ritual equal parts feral energy and fatal precision. From the slow-grinding opener “Dreadead” through the tar-soaked menace of “Cauldron of Black Tar,” the feverish descent of the title track and the final farewell of “Godbye,” The Grave unfolds like a single, unbroken passage through dread and decay. Formed in 2024 and operating deliberately outside the label system, Infernal Flame channel a rehearsal-room immediacy that recalls the early second-wave spirit while carving out a distinctly modern darkness. Still largely unreviewed and shrouded in underground obscurity, The Grave stands as an intense and authentic statement - from a band intent on burning their own path through Poland’s black/death scene.

Gothenburg trio Dark Horse present their new album "Listen", released by We Jazz Records on 13 November. The band, comprising of John Holmström (piano), Alfred Lorinius (bass) and Mårten Magnefors (drums) recorded their second album in a remote cabin by the ocean in Norway, owned by Holmström's family. The natural sound of the album owes a lot to the relaxed surroundings and the result is some high degree of improvised music turning into collective composition as the music unfolds.

The album recording took place at a very active spot in the trio's calendar, following extensive touring in Europe, Japan and their native country Sweden. The two days of improvising were edited down to highlights that easily fill an album's worth of quality listening and reveal what playing live brought to the three musicians: A natural ability to react to ideas, build on them and form coherent, compositional tracks on the spot. A task much easier said than done.

"We're a non-conceptual basement band all the way", laughs pianist Holmström. "We have been moving from free form music into collective composition and this is our pinnacle recording with that idea thus far. We just set out to play as honestly as possible and this is what followed."

A testament to the power of a fixed band unit developing over time, "Listen" comes across as a work by a group constantly keeping its nose to the wind when it comes to developing their music. The long-form opener "Allas Favorit" is a monumental piece building and releasing tension along its 12+ minute length. First single "Brutet Groove" assumes a fascinating, almost mechanic-sounding swing while assembling and reassembling the pieces of the puzzle, and the closing track "Fjäll-låten" gives us something of an ever-shifting sonic landscape in glorious colors, much akin to its name ("Mountain Song" in Swedish).

"That one Fjäll-låten includes some of the best musical moments of my life so far" confirms bassist Alfred Lorinius. "It's actually an edit of a 20-minute improvised sequence, and it has the real feeling of the band coming together and doing something new and fresh in the moment. I feel it's something you can revisit as many times as you like and there's always something to find in there."

Dark Horse formed in 2012 after Lorinius joined Holmström and drummer Mårten Magnefors to complete the group. Things quickly started taking shape musically from there on, but the group took their time in honing their craft with a method they now refer to as "tryout development". Their self-titled debut album appeared in 2015 and the current We Jazz album "Listen" marks the first internationally distributed release for the trio.The roots of Dark Horse lay firmly in the buzzing creative music scene of Gothenburg, Sweden, where the members have close ties with local establishments such as the legendary venue BrÖtz, and the city's vast scene of highly-regarded musicians.

In brief, "Listen" presents Dark Horse gloriously putting into use their musical philosophy what they describe "improvising as composing together".

"Listen" by Dark Horse is released by Helsinki's We Jazz Records on 13 November 2020 on vinyl and digitally. The vinyl comes in a heavy duty tip-on sleeve and the album design features the painting "Overwhelming Structure" by the Helsinki-based visual artist Maija Lassila.

The sunshine of Andalucía has come to the Bordello. The musical magpie that is Daniel Monaco arrives with just a hint of a Spanish accent and a daring record under his arm. Known for finding the intersections of boogie, disco, italo and house, Monaco is going that bit further with Manuel Rodriguez for the Flamenca EP. Melting the percussive drive of his machines with the spirit of Southern Spain, the four tracks on offer are a journey into a sound and style that is inspiringly original. Ruffled hi-hats and smooth basslines are the foundation for the title piece. The soul of the Sierra Nevada and the warmth of Granada pour forth through Rodriguez’s unparalleled performance. The claps of Chicago are reimagined as an interplay of melody and rhythm awakens; the traditions of Flamenco married with a modern groove. Talent and technique are coupled with pure passion in the intense instrumentation of “Fantasia” before the flip shifts with “Sìnteme.” The culture of Italy and Spain combine, taut string plucks peppered in handclaps before the Only Bee’s vocals descend. Ardent, the lyrics tell of our shared humanity through the dialect of Ischitella from the southern tip of Italy. The homes of our musicians are the inspiration for the finale. Blending the decadent splendour of Napoli with the old-world romance of Granada, Rodriguez’s guitar is the focus of “Granapoli.” Bitter-sweet, blissful and sorrowful, a lone beat wandering through the winding melody that twins these great cities. From Italy and Andalucía to Amsterdam, a 12” like few others.

Prolific powers in rave and counterculture, Luca Lozano and Mr. Ho debut on Phantasy with the deliciously gnarly ‘WREKONS’ EP. Already locked in close collaboration at their own Klasse Wrecks label, this temporary migration to Erol Alkan's peerless London imprint with four outsider-electro variations that sit comfortably amongst the more bombastic moments in Phantasy's history.

‘Reach Out and Touch’ sets the tone, bursting sound systems wide open with an introduction that takes Lozano and Ho out of the basement and into the widest festival fields, overdriven with sheer energy and a flawless arrangement that sets up all manner of musical twists until the final chord. ‘Psycho Rasp’ expands from a simple cowbell beat to a circuit-frying melody, a machine rush that isn’t afraid to strip back to bare essentials for a devilishly simple, extremely effective breakdown.

On the flip, ‘WREKONS' pushes things further still, particularly on the lubricious ‘Grease Beat’, an unrelenting symphony of rubber-faced bass, crashing cymbals and demented drums, ideally composed to pair daring DJs with submissive dancers. ‘Tin Can Hustler’ closes off the EP with the duo’s leftfield take on jackin’ house, its dense groove bubbling up from underneath the strangest analogue signals.

The title and sleeve artwork for 'WREKONS' makes reference to the PERKONS HD01, a drum machine made by Latvian wizards Erica Synths, and one that was used heavily throughout the two-day session in which these tracks were recorded

There’s a rare tenderness to the way Byron The Aquarius makes house music. Across every release, the Alabama-born producer brings a deep sense of humanity - chords that breathe, basslines that sway, and melodies that seem to remember. On 'One of a Kind (Love Affair)', his debut for Hard Times, that emotional clarity shines through once again.

A master of the keys with a discography that spans Eglo, Signature, Apron, Axis, and more recently Skylax and Star Creature, Byron has long blurred the boundaries between jazz, soul, and machine groove. Here, he builds four tracks that each glow with feeling and finesse.

‘A New Life' opens with uplift and propulsion - crisp kicks and fluid sax lines circling around tender vocal refrains. 'The Last Mile of the Way' drifts inward, its spoken-word cadence and pulsing rhythm turning reflection into hypnosis. On the flip, 'I Be Like Dat' pushes forward with a tougher, more percussive edge. A laser-guided club moment that still hums with soul. Finally, '4 Mike Huckaby' closes the record as both elegy and celebration: shakers, muted horns, and shimmering keys floating in quiet reverence for a lost friend and inspiration.

As its title suggests, One of a Kind (Love Affair) is less about romance and more about devotion.

Shep is a new project from respected UK veteran Jay Shepheard, and it has already made a good start with some solid tracks and an even better title with the 'Higher States Of Nonchalance' EP back in December. This third outing on his People Pleasers label opens with the sleek synth warmth and curious melodies of 'Home Again'. 'A Box Ticker' has a darker vibe with daubs of synth, warped bass and jumbled percussion and flip side cuts 'Mongolian Samba Diaries' and 'The Lime Deck' up the energy first with some nice trippy motifs and then with a grittier, more heads down tech cut. Superb sound design makes this another standout 12".

2026 Repress

Since its inception in 2016, Cornucopia has been a musical project synonymous with creativity and depth. The name itself, rooted in ancient mythology, symbolizes abundance and prosperity. Today, it evokes the same spirit- a metaphorical horn overflowing with ideas and innovation. This ethos emerges in the latest release, the fifth offering from the new label run by Guy J.

The music is a testament to artistic richness and a celebration of sonic exploration.
The release opens with Remember Me, a mellow yet groove-infused track tailor-made for sunset moments by the sea. Built on hypnotic layers, it evolves into an atmospheric journey that blends joy, subtle ecstasy, and vibrant energy. In an age of musical hyperproduction, Remember Me is a reason alone to celebrate Cornucopia's return. Yet,it is only the beginning; the unexpected euphoria unfolds as the release progresses.

Seasoned partygoers often categorize tracks by their vibe-some are designed for the night, while others are for the early hours. The title track, Early Morning, is an ode to the latter, crafted to accompany the most dedicated dancers as they greet the dawn. Driven by uplifting arpeggios, the track radiates unfiltered positivity, eliciting smiles and a deep connection among those on the dance floor. Already road-tested in DJ sets, this euphoric anthem has been hailed as a secret weapon of underground music, delivering pure joy with every beat.

Released by the Early Morning label, it is a fitting finale to this remarkable collection. With its undeniable potential to become a future classic, Cornucopia's latest offering is an experience that lingers long after the final note.

2026 Repress

Dam Swindle's new 'Backyard Galaxy' EP is an ode to house music and the classic Swindle sound.

It's only been a few months since Dam Swindle released their highly acclaimed album "Open" and already the boys are back on Heist with a new release that takes you right back to the dancefloor. Where they've spent the better part of the last 3 years writing their album with all its sonic explorations and collabs, this new EP sees the duo return to their roots of club-ready house music. The 'Backyard Galaxy' EP comes with 4 high-energy house tracks made in their Amsterdam studio that have been road-tested all summer.

EP opener "Feel it much?" has all the ingredients of a classic Swindle heater, with warm pads, rich organic percussion and tons of soul. There's a simple and effective vocal running throughout the track that blends nicely with the classic house elements and electronic textures that are layered throughout the track. There's an effortless flow to this track and it comes as no surprise that it has been a highlight in their sets this summer.

The EP title track 'Backyard Galaxy' is an up-tempo Latin-themed jam with a hint of old school techno. The synth stabs hit you just right and the modulated vocal chops are a lovely boost for the build ups and add a touch of swing to a track that already has a tight groove. Add to that a huge breakdown and drum roll and you've got yourself a track that'll light up any dancefloor.

On the flip, we're moving into garage territory with the shuffling vibes of 'Rhythm Baby'. The current popularity of the genre is not missed on Dam Swindle, but when you look closely, you'll see this track is full of elements that the duo have built their legacy on. The vocal chops, transposed key samples and swing are all on point and work just as well below, as above 130 bpm if speed is your thing.

The EP closes with the NY-style house cut 'What you give', which reminds us of Dam Swindle's remix of Cinthie's Heist hit 'Won't U take me' with its lush organs and moody keys. It's perhaps the most classic house track they've made in a long time and you can hear they had a great time recording this. It's playful, vibey and catchy. Just the way we like it.

Dam Swindle might have delivered one of the standout cross-over albums of 2025, but on this EP the message is clear: Once a househead, always a househead.

As always, enjoy the music and play it loud!

Much love,
Heist HQ

In 2017, at Documenta Kassel (but in Athens), I invited José Jiménez Bobote, a remarkable gitano artist from the Tres Mil Viviendas neighbourhood in Seville, to record a series of actions in specific locations in the Greek capital. Ancient Greece and modern Greece. I wanted him to draw sound from the city, to strike it as only a flamenco artist can, with his feet. To hit the ground and make it moan, ring out with noises evoking significant moments in history: from Diogenes the Cynic and the Apostle Paul’s sermon at the Areopagus to Rosa Eskenazi’s resistance to the Nazi-German occupation, and the ups and downs of police Inspector Costas Haritos’s survival at the European Bank during the PIGS crisis. Bobote struck the ground and Athens responded, sending back echoes of the past, in an exceptional anachronistic exercise. In flamenco it is possible for several times to sound simultaneously.

We took seventeen hours of footage, and water from many wells.

I then shut away producer, musician, and friend Raül Refree with this material so that he could take the long titles and use them as scores, turning them into mere songs. It was very important to think in terms of songs. The tracks had to have the capacity to be songs, the kind of thing one whistles while absent-mindedly walking down the street. Generally speaking, the scores—that is, the texts—defended the use and abuse of the loose coins that people carry around in their pockets. Loose change as a kind of everyday fetishism against big financial capital. Pistis! Refree managed to coax that distinctive unity of songs, their bright catchiness, from the amalgamation of sounds that would, in other hands, end up being labelled concrete music. Peter Szendy would be pleased and grateful. Being able to sing under one’s breath something that others consider simply noise.

Seven songs, yes. And if you get the chance, take a stroll through Athens with them: the locations are clearly defined. If not, then let Athens fill your home with all its ancient wisdom, boring into your ears like worms, making holes in history.

Listen, and, as people used to say, turn up the volume!

Pedro G. Romero, Santa Marta, Colombia, November 2025

Comes with booklet with song lyrics written by Pedro G. Romero. Limited edition of 250 vinyl records.

Killer Groove Records proudly presents the debut 45 by Italian cinematic funk trio Atabasca. A syncopated journey where funk, psychedelia, and cinematic groove merge into a timeless narrative suspended between rhythm and vision.


"Cacopoulos" and "Kundela Mawedi" mark the birth of Atabasca's sonic universe: the first two singles from the upcoming self-titled debut album,which will be released on March 27 in limited-edition LP, CD digipack, and digital formats.

On the A-side, "Cacopoulos" is an impetuous, visionary ride that fuses the power of instrumental groove with the evocative imagery of library music and Italian golden-age soundtracks. From the first beat, listeners are drawn into a dry, dusty landscape driven by a primal drum groove and the acid twang of a guitar that evokes the spirit of classic Westerns. Indeed, "Cacopoulos" pays homage to I Quattro dell'Ave Maria (Ace High) and to the legendary Eli Wallach, the sly outlaw who turns deception into revenge, a subtle yet powerful nod that ties the trio's sound to imagery steeped in dust, dreams, and redemption.


On the flip side, the sound of an old lap steel guitar evokes the gentle waves of the sea, opening the doors to "Kundela Mawedi", a dreamy track with exotic tones and heavenly atmospheres. The sonic journey unfolds through hypnotic rhythms and echoes of ancient cultures, where ethereal voices and warm, entrancing bass lines intertwine with psychedelic riffs and evocative guitar melodies, merging into a soundscape rich in warmth and mystery. The chorus, with its unexpected choral chant, adds a spark of magic. An elegant twist that gently stirs the dreamlike mood and transports the listener into a new sonic dimension, steeped in mysticism and tribal vibrations. "Kundela Mawedi" is more than just a song: it's a sensory experience, a musical ritual where tradition meets psychedelia, sand meets sea, and the soul dances upon the waves of time.


Recorded in a single take, the session captures the raw energy and natural atmosphere of the performance. Artistic production was handled by the trio alongside Andrea Fabrizii (digger, musician, producer, and catalogue curator for CAM Sugar), while Riccardo Ricci mastered the tracks at Velvet Room Mastering Studio in Brighton.


A killer double-sider, blending psychedelic and funk moods with percussive, jazzy textures. A must-have gem for every groove-loving DJ.


Like a desert blooming within the evergreen forests of the planet's far north, a unique, alien, disruptive environment: this is the vision behind Atabasca, the project of Luca Mongia (guitars, lap steel, keyboards, vocals), Paolo Mazziotti (bass, keyboards, vocals), and Valerio Pompei (drums, percussion, vocals). Individually active for over twenty years on both national and international scenes, the three musicians came together in 2023 to create a project that merges experience, experimentation, and creative freedom. Their music is imaginative and at times dreamlike, blending the classic concept of the instrumental trio with the worlds of film scoring and sound design.


Atabasca's sound moves through jazz-funk, world, and cinematic territories, weaving together afrobeat, desert, and psychedelic influences into a personal and timeless language. Each piece is a scene; each sound, a fragment of a world, a journey between reality and imagination where groove, texture, and organic timbre merge into a singular sonic ecosystem: a perpetually shifting balance that generates new inner landscapes.


Fans of Khruangbin, Surprise Chef, and instrumental psych-funk, take note!

"‘Hydra’ is the sixth studio album by Dutch symphonic metal band Within Temptation. It was originally released on January 31, 2014 in Europe and on February 4, 2014 in North America. The album contains guest appearances by singer Howard Jones (ex-Killswitch Engage), rapper Xzibit, metal vocalist Tarja Turunen (ex-Nightwish) and alternative rock singer Dave Pirner (Soul Asylum). It was the first album by Within Temptation to be recorded with three guitarists, with Stefan Helleblad making his Within Temptation studio debut on ‘Hydra’ since his addition to the band shortly after the release of ‘The Unforgiving’ in 2011. ‘Hydra’ is also the first Within Temptation album to feature Robert Westerholt's growling techniques since the band's debut album, ‘Enter’ in 1997. The band wanted it to be a real Within Temptation record, but heavier, more musically challenging, pushing borders and frontiers with new elements and influences, and at the same time bring back more from their early metal roots “... A bit like the past and future at the same time"" – as stated by the band.

The album title refers to the great variation in musical genres, the band improves on with each new release. Guitarist Robert Westerholt adds: ""Hydra is a perfect title for our new album, because like the monster itself, the record represents the many different sides of our music"". According to the ancient Greek mythology, the Hydra was a giant multi-headed serpent that, for each severed head, sprang forth two more in their place. This new Expanded Edition comes with 8 bonus tracks, never released on vinyl before.