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Repress!

10 years since the consumerist musings of Tesco, Matthew Herbert reanimates his Wishmountain project and heads deep underground to find the source material for Stonework: 1000 metres down.

Like many of Herbert’s projects, Wishmountain releases revolve around specific, material sound palettes, and for this latest album he’s drawn from a sample library created as a commission for the Stone Techno festival, which took place at the UNESCO World Heritage Zollverein mine in Essen, Germany. Working with sound recordist Lorenzo Dal Ri, Herbert and Dan Pollard captured a varied and wide variety of hits, tones, textures and one-shots from the frozen-in-time remnants of the Ruhr region’s coal-mining industry and from specific materials in the nearby Ruhr Museum and Mineralien-Museum. A sample library created by Matthew and Dan of the recordings was also used for the Stone Techno series, from which tracks have been commissioned by the likes of Luke Slater, Megan Leber, Ben Sims and KiNK drawing from the same sounds heard on this album.

These stone-cast sounds lend themselves to the Wishmountain framework – skeletal, quasi-industrial techno with an angular impulse and a subtle swing. Much like the breakthrough hit, 1996’s ‘Radio’ (made using samples of a broken radio), the limitations on the source material sharpen the focus of the music. What started out as a practical hardware restriction in the early 90s became a purposeful way of working for Herbert – one which carried through the 1999 album Wishmountainisdead to 2012’s Tesco with its sampling of the British supermarket chain’s 10 most popular products.

Musically, Stonework is consistent terrain for Wishmountain – austere and forbidding in one sense, playful and irreverent in another. But from a club music perspective, which Wishmountain absolutely is, it offers DJs a variety of rhythmic formations within the tool-like minimalism of the arrangements, opening up intriguing possibilities for mixing into, out of, or somewhere in between. For every 4/4 thrust and jerk there is a fractured, snaking meditation pivoting around other time signatures.

Crystal clear in its creative intention and simultaneously successful as surface-level club music, Stonework: 1000 Metres Down is a natural continuation for one of Herbert’s most celebrated, albeit intermittent, aliases.

We are thrilled to introduce the world to the innovative sounds of the Japanese improvisational music trio 'I-I'. Composed of three exceptionally talented musicians, Kazuhisa Uchihashi (guitar, daxophone, pedals), Mitsuhisa Sakaguchi (synthesizers, pedals) and Tatsuhisa Yamamoto (percussion). This dynamic ensemble has embarked on a remarkable musical journey with their homonymous debut album.
"There's no inspiration from others. We just played." With this raw and unfiltered approach to music, 'I-I' promises a unique listening experience. The album's overall sound and style can be described as completely improvised, devoid of any predetermined theme or content. Instead, the musicians rely on their deep understanding of each other's musicality to create spontaneous and captivating harmonies. This organic approach results in a tension-filled sound that challenges traditional norms.
In their own words, the musicians stated that there are no particular themes or messages they seek to convey through the songs. Their creative process is one of pure exploration, allowing their musical intuition to guide them.
'I-I' is the trio's debut album, marking the beginning of their musical journey as a collective.
Despite the complexities of spontaneous creation, the trio revealed that they faced no significant challenges during the album's production, making the creative process smooth and seamless."We hope you will listen to this album from the first track to the last track in order, as like 'Album-oriented music.' The trio hopes that listeners will fully immerse themselves in "I-I" by sitting down in front of their audio systems and playing it as loudly as possible. Their goal is to provide a unique and unforgettable musical experience that transcends traditional boundaries.
"I-I" is now available for listeners who crave the thrill of uncharted musical territory. Embrace the unexpected and embark on a sonic adventure with this groundbreaking debut album.

“I wrote these six new pieces with simple French words that a student learning French can understand. It is always intended for fanciful dances and musical fantasies” - Bernard Fevre

Legendary Parisian disco pioneer and producer, Black Devil Disco Club is back and has announced the release of a new album via UK independent imprint Lo Recordings on the 1st December.

‘Etincelles’, which translates as ‘sparks’ in English, is the follow up to 2020’s ‘Lucifer Is A Flower’ and will be digitally available and released on limited edition coloured vinyl wrapped in screen printed sleeves with lazer cut triangles designed by the award winning Non Format team. A truly future perfect and infectious collection of electronic sounds and beats, the new album features six brand new tracks including the lead single ‘L Mer Sur L’enfer’ which was inspired by Salvador Dali and will be available from the 3rd of November.

With a story as deep and strange as the music itself, Black Devil is the alter ego of Bernard Fevre, a French composer of electronic library music with a highly sought after back catalogue that includes the magnificent ‘Strange World Of Bernard Fevre’.

Having grown up and worked in Paris, it was the African clubs and rhythms in the city that inspired him to make his celebrated debut album ‘Black Devil Disco Club’ with only a small arsenal of electronic keyboards, a vocoder and looped conga drums. One of the most enigmatic electronic masterpieces ever made, the record was so ahead of it’s time that no one could believe it was made in 1977 on it’s release in ‘78. When it was re- issued in 2004 on the Rephlex label many thought it was a hoax and that the music was made by Aphex Twin or Luke Vibert but when Lo Recordings put out the ‘28 After’ album in 2006, the truth was finally revealed.

"I don't like rap music at all. I don't think it's music. It's just a beat and rapping."
Nina Simone

Straight off the streets, Hip-Hop burst onto the scene, leaving no one indifferent, igniting a cultural revolution that would shape generations to come. Now, in celebration of its 50-year anniversary, Art That Kills proudly presents HHCOMP01.

HHCOMP01 aims to capture the freshness and innocence of a genre in the midst of defining itself. As the world embraced this new phenomenon, it was a time of raw creativity and unbridled expression.

With a selection of seven fantastic tracks stepped out of the underground, HHCOMP01 is a window into the origins of a genre that has resonated with countless hearts and minds.

Krafty Kuts and DJ Robert Smith have teamed up to highlight the skills they are best at. Krafty Kuts is known for his unique beats from Hip Hop to Ghetto Funk. DJ Robert Smith on the other hand is famous for his scratches and turntable work. After Krafty passed on a few beats to DJRS about 2 years ago, Smith quickly realized that he wanted to create an EP from these beats with the help of his worldwide connections. The first song to receive rap vocals was "Here I Come" ft. Wildelux, who delivered in no time. The vision was strengthened and more feature requests followed: Supastition, 1773, BambuDeAsiatic and Slimkid3 who took Moonbeam Kelly on board. Within a very short time a masterpiece of first-class artists was created. The "Krafty Smith EP"!

Pen To The Paper featuring BambudeAsiatic:
BambuDeAsiatic is an emcee / producer, a veteran of the Atlanta, GA (USA) underground Hip Hop scene, and former member of the Atlanta based Hip Hop group, Collective Efforts.

*Limited to 150 copies worldwide*

Dave Wallace and Shaun O’Hara created Mad Dog as their first collaboration project back in 1992, later to go on and also form Fugitive – both projects being released in the early 90’s by Bournemouth based Underdog Recordings.

In 2018 Vinyl Fanatiks repressed their first EP and in 2019 Mad Dog 2 was re-released. This 7” is the 7” edits of Mad Dog 2 – a huge release back in the day and more recently for us, selling out in a few months.

This jukebox holed release is one for the collectors and those who like to drop 7” selections in their sets.

King of the mini platters…

Croatian Amor returns with “A Part of You in Everything” a companion piece to last year’s “Remember Rainbow Bridge”.

“My younger brother died at birth and I never had a chance to meet him. Growing up he was my ghost friend, someone told me he lived in the stars which I accepted. I had not paid attention to him for many years but when I was making "Remember Rainbow Bridge” and waiting for my son to come into the world he suddenly appeared again. I partly dedicated Remember Rainbow Bridge to him, but I knew that it wasn’t his record, so I thought I should make one just for him and here it is; “A Part of You in Everything”, 8 songs about being human on Earth. I think it’s music which is best listened to at night out under the stars. Thank you to all my friends who helped making it!”

Upon what instrument are we two spanned?
And what musician holds us in his hand?
- Rilke

Calm, introspective and minimal music for pondering and reflection. Inspired by
giants like Earth, early Santana and Bohren & der Club of Gore, their single-song,
self-titled debut lifts up its listeners onto divine rays of grandeur into infinity.
Gilded Form is founded by members of internationally acclaimed underground
bands such as Desertion Trio, Dead Neanderthals, Many Arms, MNHM, Plague
Organ, Cryptae and Imperial Cult.
FFO: later period Earth
Nick Millevoi: guitar
Otto Kokke: synthesizer
Rene Aquarius: drums

There are two versions of the vinyl - classic black and triple-color limited Indie Shop edition.

Both have special insert inside with the bands bio and photos.

Generacja JAZZ is a project showing a fragment of the new wave of Polish jazz, treading its own path, creating, touring and jamming across Europe. Borders don't exist - especially musical - the new generation is engaging with nightclubs, festivals and playlists. The time has now come to show its broader perspective. We created a project which involves a handful of groups that have already racked up debut albums and festival wins, as they set out on their musical odyssey. The groups also have other things in common, like their passion, originality and, for the needs of the project, age - all the artists during the recording of this album were under 30 years old. This is the new generation - the Jazz Generation.

For the Jazz Generation record we invited five bands who had already released debut albums: Immortal Onion, Klawo, Rejoin, Twoosty Mayonez and USO 9001. We also reserved two spots on the compilation for the winners of our open call competition, whereby on the basis of the jury's choice (jury: Monika Borzym, Paulina Przybysz, Envee, Wojtek Mazolewski i Marcin Groh Grośkiewicz) we met the winning bands: Kosmos and quietet.

The sleeve artist is Kornelia Nowak, who won our open call for young designers and graphic artists. Here once again we could rely on the opinion of a prestigious jury comprised of: Beata Śliwińska Barrakuz, Bovska, Maciej Animisiewasz Grochot, Grzegorz Forin Piwnicki i Marcin Groh Grośkiewicz.

Generacja JAZZ LP is also a start of the new imprint - U JAZZ ME, which will be focused on jazz from Poland.

And here are the bands from the album:

1. Immortal Onion - A band from the Tri-City playing a broad spectrum of instrumental music.

Band members: Wojtek Warmijak (percussion), Tomir Śpiołek (piano, synths), Ziemowit Klimek (Upright Bass, synths).

The band Immortal Onion has already established itself as one of the most interesting projects of the new wave of Polish jazz, and is consistently being labelled as such abroad. After two well received albums ("Ocelot of Salvation" (2017) and"XD Experience Design" (2020) U Know Me Records) they released their third album "Screens" in 2022, which was recorded with the well known Tri-City composer and saxophonist - Michał Jan Ciesielski.

The inspiration behind the band's formation were such artists as: Esbjörn Svensson, Hiromi Uehara, Tigran Hamasyan and Tosin Abasi.

The group's guiding principle from the very beginning was the fusion of often disparate musical styles, which bore "post instrumental aggressive gay pop". Despite the stylistic discrepancies, between which they swim, the group has forged its own identifiable language, characterised by complicated rhythmical structures, energetic riffs and trance beats with lyrical melodies.

The trio has performed its original material at many venues and festivals around Europe and Asia.

2. Klawo - seven adventurous adventurers from Gdańsk, who were brought together by their love for music, halvah and throwing Frisbee. Their self-named début album, released in 2022 on the local label Coastline Northern Cuts, is an amalgam of the inspirations of each of the team members and played backwards contains tips on how to reach the Kashubian pyramids. After a win at the international competition Jazz in the Park, held in Cluj-Napoca in Romania, the band began work on their second album. Meanwhile, they were also travelling the length and breadth of Poland on a mission to infect people with the idea of Baltic Funk.

3. Kosmos is a Łódż based jazz quintet. It was formed in 2020 by Pianist Stanisław Szmigero, Saxophonist Iwo Tylman and Trumpeter Jan Ostalski. However, it wasn't until 2022 that Kosmos found its true form when Kamil Gużniczak (Upright bass) and Kacper Kuta (Percussion) joined the line-up.

Their compositions are influenced by Polish yass bands, electronic music and hip-hop. Kosmos music is a mix of lyricism, space, intensity and elements of experiment.

The band members are all eccentric characters possessing different means of musical expression - looking at them, one could even argue they are a group of oddballs. Despite this, for reasons unbeknownst to themselves, the members of Kosmos complement each other on stage and form a unified artistic vision of the world around them.

Kosmos officially released their début single "Ja" in June 2023. They regularly play concerts across Poland and recently were selected as distinguished artists at JAZZiNSPIRACJE (JAZZiNSPIRATION) - a competition held during the 13th Lublin Jazz Festival.

4. Quietet (formed at the beginning of 2023) is the result of meetings between five talented musicians with a deep passion for musical creation. Its sound is a unique blend of Jazz and classical music with a hint of hard rock. The band is inspired by the Scandinavian approach to making music, which brings a characteristic atmosphere and melodies to their work. Their music captivates listeners with its originality, refined improvisations and flawless technique. Both classical and modern musical trends feed their inspiration when creating passionate and emotional compositions.

Their works are full of sound experimentation, which equally surprise and expose new musical horizons. Through their compositions, "Quietet" aims to share their emotions evoked during performances, creating a musical journey that affects and inspires.

5. Connecting jazz with electronic music in fresh interpretations, six young musicians make up the group Rejoin. The group re-formed in 2020 after a four-year break, playing their debut concert at Lotos Jazz Festival Bielska Zadymka Jazzowa. The musicians in Rejoin have performed alongside such artists as: Urszula Dudziak, Krystyna Prońko, Marcin Masecki, Szczyl, Kuba Więcek and Paulina Przybysz.

Most of the members of Rejoin are students from the Katowice Music Academy, where they also develop their own projects. Rejoin was a recipient of the Fabryki Norblin Music Masterclass Foundation scholarship.

6. Twoosty Mayonez is something your grandad would listen to with his younger sister. The non-standard approach to jazz alongside a pursuit of strange sounds, culminated in the conceptual album entitled "Carmin". The material was created by Bartosz Wolerta (percussion) and Dominik Kaniewski (bass guitar/synths). "Triceradiplodocus" tells the story of a mechanical dinosaur that lives on the yet undiscovered planet Carmin.

The legendary British artist’s first full-length collection in over five years, SHUFFLEMANIA!
has already been hailed on both sides of the Atlantic as one of the finest releases in his
inimitable canon. The album includes such new Hitchcockian favorites as “The Shuffle Man”
and “The Raging Muse,” both joined by official animated videos streaming now at YouTube.
Recorded in locations around the world over the pandemic era, SHUFFLEMANIA! offers up
ten gloriously ingenious new Robyn Hitchcock songs in just under 40 minutes - a “proper
pop album” as nature intended.
“Robyn Hitchcock’s first album since 2017 is thronged with actual humans - among them
Johnny Marr, Soft Boys compadres Kimberley Rew and Morris Windsor, Sean Ono Lennon
and Brendan Benson. None of them crowd out Hitchcock’s distinctive songwriting though,
nor his undimmed ability to reach through the existential murk and grasp a revelation or
two.” – MOJO

As one of the most influential rock groups in the late eighties, Living Colour proved that blending Hard Rock with Funk, Soul, Rap and Punk can be a very successful undertaking. Their debut Vivid (1988) took some time to build up steam, but eventually turned heads worldwide as the sheer quality of this album inevitably rose to the surface. A combination of intelligent lyrics dealing with personal emotions and social/political issues, laid on top of eleven groovy and diverse songs enriched by Vernon Reid’s monster riffs is what makes Vivid a highly powerful album. Vivid spawned the hits “Glamour Boys” and “Cult Of Personality”, which was awarded a Grammy for Best Hard Rock Performance in 1989.

Available as a limited edition of 1000 individually numbered copies on
transparent pink coloured vinyl. The package includes an insert.

Repetitive actions, looping in your head forever. Forever? Never. Zero is endless. All flowers and fades. No permanence is ours. We are a wave, that flows to fit. And yet, “Music for a film”, a cassette tape by Swedish artists Sofie Herner aka Leda, inheres the power for perpetuity. A circulating dreamland, built on loop pedals, guitar, and tape manipulation.

The Malmö based artist, who is already famed in the global experimental, improvisational, lo-fi noise underworld for her own musical creations as well as being part of bands and projects like Enhet För Fri Musik, Källarbarnen, or Neutral, brings music made for the film “Dödfött“ - an interactive flick by director Niklas Hansson about failed online karate and caducity, screened with a stage art performance at Hypnos Theatre, Malmö, in early autumn 2022. Cinematic sounds for all the Velvets, that never awaken from their first DIY Super 8 dream.

Colorful, yet monochrome electrified and acoustic guitar melodies, monotonous, working like drones, getting all stranded in the zones. Six minimal compositions. Full of plenty, always friendly. Heavy, calm, dreamy, shredding, scratching, created for the woman of the world. And all other creatures, that seek features in unbroken repetition. As nobody keeps any of what he has, one day the eternal veil of forgetfulness will warp us all. Until that hour we dance in circles. Making karate moves, sidestepping caducity, reenacting ourselves, endless at the edges, through night and day, craving form that binds. As form is emptiness, emptiness is form itself. Welcome to the world of Leda, riff, 7/4, loop, the young, the middle aged, the old…

Tape is hand-stamped along the top, in printed card housing, with

Van Halen did more than announce to the world the earthshaking arrival of a revolutionary guitarist. Performed by an enterprising California quartet that took its name from two of its principal members, the 1978 debut ripped headlines away from punk, injected fresh energy into a then-moribund rock 'n' roll scene, reimagined how heavy music and throwback pop could coexist, and invited everyone to experience the top-down pleasures of a beach-front Saturday night every day of the week no matter where they lived. Painstakingly restored by Mobile Fidelity Sound Lab, and the first of a multi-album series in an exciting partnership between the famous reissue label and Van Halen, Van Halen delivers feel-good thrills and hormonally charged desires like never before.

Limited to 12,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original analogue master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's merit and allows fans to experience Van Halen's original blend of raw power, Hollywood flair, and vaudeville fun for generations to come. Playing with reference-setting sonics that elevate a 10-times-platinum landmark whose importance cannot be quantitatively measured, this definitive version provides a clear, clean, transparent, balanced, and turn-the-volume-up-to-11 view of an album that birthed entirely new styles. Since MoFi's unique SuperVinyl compound allows you to crank the decibels to your wildest desires without risking noise-floor interference, prepare to not only hear but feel Van Halen in your chest, no fifth-row concert seat necessary.

The premium packaging and gorgeous presentation of the UD1S Van Halen pressing befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic cover art to the meticulous finishes and, yes, of course, Eddie Van Halen's pioneering fretwork and his brother Alex's double-bass percussion.

Indeed, could a piece of music that transformed how countless guitarists approached their instrument be more fittingly named than "Eruption"? Likely not, and in just 102 seconds, Eddie Van Halen rewrote, reimagined, and reconfigured a vocabulary last significantly updated a decade earlier by fellow six-string wizard Jimi Hendrix. Akin to the Washington State legend, Eddie Van Halen developed his own techniques and tones all the while making his seismic accomplishments seem effortless. Devoid of the pretence, ego, and showiness that infected many of his imitators, the Dutch native sticks to a straightforward approach that underlines the authority, prowess, and visionary scope of his playing and then-unheard-of finger-tapping skills. Throughout Van Halen, he establishes himself as an instant idol – a savant whose otherworldly combination of breadth, poise, feel, speed, force, and melody seems beamed in from another galaxy.

As does nearly every song on the record, whose cohesiveness and dynamic put into perspective the advanced chemistry and one-for-all spirit the youthful band had out of the gates. Having paid its dues for years in bars and clubs – going as far as recording a 24-track demo for Kiss bassist Gene Simmons at Village Recorders only to be spurned by management companies that felt its music wouldn't go anywhere – Van Halen finally got a deserved break when Warner Bros. executives signed the group in 1977. The subsequent recording sessions further testify on behalf of the band's synergy and alignment. Completed in just a few weeks with producer Ted Templeman, Van Halen was primarily cut live in the studio with minimal overdubs and edits. The explosiveness, energy, and electricity remain definitive, and as heard on this UD1S set, put the group on a private stage – humming amplifiers, Frankenstrat guitar, bright spotlights, sweaty headbands, and then some.

Van Halen yielded just one hit in the form of a Top 40 single (a breathless cover of the Kinks' "You Really Got Me") but practically every song on the revered LP has become a staple. Named the 202nd Greatest Album of All Time by Rolling Stone and considered by countless experts as one of the best debuts in history, the record displays what can happen with four distinct talents gel and strive for the same purposes. In Van Halen's case, the latter almost always involved partying, freedom, sex, and, in the immortal words of singer David Lee Roth, living "life like there's no tomorrow." The celebration manifests from the opening notes of the strutting "Runnin' with the Devil" – announced with the blare of droning car horns, Michael Anthony's robust bass line, and Alex Van Halen's thumping drumming – and continues through the conclusion of the white-hot "On Fire," goosed by Eddie Van Halen's race-track-ready lines, Roth's flamboyant deliveries, and the rhythm section's cat-like pounce.

Picking out individual highlights on Van Halen is akin to trying to count all the stars in a clear nighttime desert sky: There are far too many to identify, once you see one you notice another dozen you didn't spot before, and the cluster is best enjoyed as a whole. What's evident over repeat listens is the sheer diversity, a fact that's often overlooked: The high harmonies and background funk of "Jamie's Cryin'"; the insistent cane-and-a-tophat shuffle and doo-wop shoo-bop vocal break on "I'm the One"; the throwback acoustic blues that spreads into fast-paced, single-entendre wildfire on the Roth-led standout interpretation of John Brim's "Ice Cream Man." Like the man says, on Van Halen, all the flavours are guaranteed to satisfy.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior


Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

MoFi SuperVinyl


Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Phét is a Tibetan syllable that means to cut through. Through concepts & obscurations. Through anything in the mind that stands as an obstacle to our direct engagement of the present. Such tempting distractions! Phét says: RIGHT NOW. As Phét does: RIGHT NOW.

That Jarrett Gilgore named his project after this mantra—Phét Phét Phét—underscores his interest in music as a form of awakening. Music as presence, manifestation, & channeling, more than as ornamentation or description of experience. This is no vessel for preconceived notions, but a record of musicians opening themselves to discovery & encounter through play. Through each other’s company. Phét Phét Phét says: Say farewell to what you’ve known. Say hello to everything you feel now, & to all the things that feel through you.

With its tenth record from Fortunato Durutti Marinetti, Quindi continues to celebrate songwriting and storytelling framed by curious musicality. In keeping with the label's trajectory to date, this is an album which draws on a universal human sentimentality and presents it with an uncommon flair. In the case of Toronto-based Daniel Colussi, the man behind Eight Waves In Search Of An Ocean, his melancholic poetry cuts through with a clarity which calls to mind all-time greats from Anette Peacock through to Lou Reed and Leonard Cohen.
Turin-born Colussi has drifted through various bands, guises and styles over the past 20 years, but since settling into Fortunato Durutti Marinetti as a vehicle for his songs, he's found a strong expressive impetus which transcends genre to become entirely hinged on the power of his words and melodies. The first album under this alias was a 2020 cassette album, Desire, later pressed on vinyl due to demand in tandem with the release of 2022's Memory's Fool. On each record, Colussi has found distinct arrangements of players to set the mood, ranging from gently lilting art and folk rock through to orchestrated balladry, but Eight Waves In Search Of An Ocean widens the palette of Fortunato Durutti Marinetti to create an album in which each song feels like a tale unto itself.
Colussi's renewed approach is instantly apparent as album opener 'Lightning On A Sunny Day' unfurls, informed greatly by producer Sandro Perri's input pursuing a hybrid electro-organic sound. The addition of drum machines and synths to the musical palette bring with them the strong connotations of pop while the sax and violin sounds similarly smooth and silky, and one can't help but think of John Martyn's slide into the digital sound of Sapphire or Kraftwerk's bittersweet synthetic tenderness.
Within this sound, there's still space for the energy to fluctuate according to the whims of songs. 'The Flowers' turns inward with a soft-touch composition as delicate as the petals Colussi describes falling to the floor. 'Misfit Streams' and first single 'Clerk Of Oblivion' savour the fluid, luxuriant tone of fretless bass with all the 80s connotations intact. Colussi remains the central focus whatever happens around him, in possession of the kind of unforced charisma which drives a song deep into the listener's heart. It's at once entirely his own style and yet comforting and familiar. The lyrics might sweep you into the singer's inner world, similarly to the experience listening to late 60s Tim Buckley, or you might well inhale the mellow jazziness of the harmonic movement like you would Joni Mitchell on Hejira.
The emotional direction of each track is never linear - 'Smash Your Head Against The Wall' snarls its rhythm section before the strings sow their aching beauty to cool the song's temper, winding up as a track of distinct halves jabbing at each other. "I Need You More' leaves space for spiralling flute solos and strangely stiff, militaristic drum rolls in the midst of a sweet, slightly sad synth ballad, the final wave receding back into the tidal undulations of Colussi's unique exploration of his muse.
The artist himself dubs his musical expression as "poetic jazz rock" with a sideways glance - it's not exactly poetry, far from trad jazz and it doesn't really rock, yet the tag feels uncannily like it fits, just like the curious music it's used to describe.

Repress!

On 22nd October, the Nottingham-raised and highly-praised musician/DJ/producer Matt Cutler, AKA Lone, presents his 8th album – and first in 5 years – ‘Always Inside Your Head’. It marks two major changes, with both a new label and new approach – featuring vocalists for the first time.

This deeply textural and ethereal artwork is situated high above the clouds, amidst the heavens, occupying a stratospheric state where swathes of synthesized vapour and azure rays sound like a literal breath of fresh air.

A varied selection of music influenced the record, but two main influences were Cocteau Twins and My Bloody Valentine. “I wanted to approach a range of different styles, but attack them from their angle in a way, so for example on 'Inlove2' I tried to imagine what a Balearic / acid house tune might sound like if it were produced by Kevin Shields”, comments Lone.

Another key example of Cutler’s strange but successful combination of elements is the halcyon bliss of ‘Echo Paths’, where his trademark fat drums and love for hip hop meet double-time pan pipes, dub effects and dream pop, mixed into a wonderfully lysergic concoction.

This rarefied auditory stratus was previously evident in tracks like ‘Alpha Wheel 4 (Ambient Mix)’ from ‘DJ Kicks’, ‘Under Cherry Blossoms (Minds Eye Reprise)’ from ‘Ambivert Tools, Vol. 2’, ‘Pulsar’ (from ‘Ambivert 4’), and ‘How Can You Tell’ (from ‘Abraxas’), but is now more fully-fledged, broader in scope and even more celestial.

In addition to the above, the LP exists somewhere between trip hop on Mo' Wax, 90s Warp, intelligent drum & bass and ambient house. There are heavier forays too, like ‘Mouth Of God’, where darker clouds emerge, but are pierced like acid lightning with fierce, tearing tech-step bass.

Although still firmly rooted in club culture – here Lone shows a definite leaning towards a song-based sound, with several tracks edging towards the same crossover space as the nineties hits which also inspired him – particularly William Orbit’s production on Madonna's 'Frozen', and Olive's 'You're Not Alone'. This is especially evident on the bright, spacious brilliance of 'Hidden By Horizons', where vocals and synths swirl around one another, with crisp breakbeats and reggae rolls pushing purposefully through the ether.

Despite initially seeming almost entirely sunny of disposition, upon deeper immersion there’s lot more beneath the album’s surface, both in its deep pools of immiscible layered elements, and also thematically. When recording Cutler kept in mind a loose narrative based on birth, death, and our existence in-between.

He then extended this idea to reach what may happen after death, which is reflected in the sequencing: By penultimate track ‘Undaunted’ the life reflected in this longplayer has come to an end, which is then followed by 'Coming In To Being And Passing Away' – an afterlife epilogue, which evokes a transition from this world to the next.

Hush Hush is thrilled to present the debut album 'No Such Thing As Free Will' by Los Angeles-based guitarist and composer Deniz Cuylan. "Deniz Cuylan seems to invent new languages for the guitar: nylon-strung takes on Reichian minimalism, fluttering arpeggios that recall Vini Reilly's spidery flamenco and atmospheric pieces pitched between Glenn Branca and Bert Jansch." -The Guardian "It's certainly an album that will soundtrack those moments when you sit and gaze at the world for a stretch, whether it is from behind a screen or in a park. An understated work, yes, but a miniature marvel." -A Closer Listen "A bright, studious, harmonic, pastoral gem. 'No Such Thing As Free Will' is a much prettier and more enveloping record than words can convey; it has a really nice poise between the disciplines of the leftfield, the guitar soli and that of bright folk melody." -Backseat Mafia

Sourced from the Original Master Tapes and Presented in Audiophile Sound for the First Time: Mobile Fidelity’s Numbered-Edition 180g SuperVinyl LP Plays with Riveting Detail
Three decades before he released The Philosophy of Modern Song — an insightful book devoted to 66 tunes that both impacted his career and the music world at large — Bob Dylan issued Good As I Been to You. The under-heralded 1992 album, Dylan’s first solo acoustic album in nearly 30 years and first all-covers effort in nearly 20 years, can be seen as a prophetic prelude to what has become the Nobel Laureate’s celebrated late-career arc. It’s also an absorbing continuation of the custom Dylan has embraced since he first picked up a guitar.


Sourced from the original master tapes, pressed at RTI, and housed in a Stoughton jacket, Mobile Fidelity's numbered-edition 180g SuperVinyl LP of Good As I Been to You reveals the immediacy, detail, and stripped-down nature of recording sessions that took place in Dylan’s garage studio in California. Simple, raw, and unplugged, the record presents Dylan in peak form — and showcases a diversity of vocal phrasing, soulful chording, harmonica accents, and close-up ambience that on this reissue emerge like never before. As the first-ever audiophile edition of this almost-lost classic, this LP also benefits from SuperVinyl’s extraordinary properties: a nearly inaudible noise floor, superb groove definition, and dead-quiet surfaces among them.

Recorded and mixed by Micajah Ryan, and supervised by Debbie Gold, Good As I Been to You took shape at Dylan’s home shortly after the singer-songwriter completed sessions in Chicago with a full band. Unaccompanied, he again gravitated to existing works — in this case, traditional folk music — and, with Gold serving as a trusted advisor, performed the songs in multiple keys and tempos until he arrived at what he desired. That careful, determined albeit loose, organic approach emanates from this reissue, on which each note, movement, and space come across more directly, fully, and immediately than on the original formats. It helps draw a through-line to Another Side of Bob Dylan (1964) as well as the similarly themed follow-up, World Gone Wrong (1993) and immersive old-world storytelling of Tempest (2012) and Rough and Rowdy Ways (2020).

Well before Dylan made those renowned 21st century LPs, however, he needed to find a way out of a funk that — save for his 1989 collaboration with Daniel Lanois, Oh Mercy — followed him for years. As author Clinton Heylin reported Dylan admitting in 1997: “My influences have not changed — and any time they have done, the music goes off to a wrong place. That’s why I recorded two LPs of old songs, so I could personally get back to the music that’s true for me.”

Truth: Few, if any, concepts better encapsulate Good As I Been to You. It resonates with the same originality, honesty, resolve, and age- and time-defying relevance as the seminal Anthology of American Folk Music that fired Dylan’s imagination as a kid in small-town Minnesota and, later, per Greil Marcus’ That Old Weird America book, informed Dylan and the Band’s Basement Tapes sessions. This record also contains the type of music Dylan was playing during his acoustic sets at his period Never Ending Tour shows; within a year of the record’s release, Dylan would play half the album’s songs live.

As for those songs: Rife with strange mystery, common circumstance, and epic adventure, the stories appeal to our base instincts. Their themes — jealousy, temptation, sacrifice, love, revenge, identity, opportunity — operate on a fundamentally human level immune to trends, generations, or eras. They’re ancient and modern, serious and comical, open and disguised, simple and multi-layered. They talk of vengeance and justice (“Frankie & Albert”; “Jim Jones”), romance and tenderness (“Tomorrow Night,” “Froggie Went a Courtin’”), the troubled and trouble-free (“Hard Times,” “Sittin’ on Top of the World”). They lend voice to lovers scorned and freed (“Blackjack Davey”), the used and users (“Diamond Joe”), the powerful and powerless (“Arthur McBride,” “Canadee-I-O”), the followed and followers (“Little Maggie”). And akin to much of Dylan’s finest output, things are not always what they appear to be.

Spanning country, folk, sea shanty, bluegrass, and blues motifs, Good As I Been to You re-confirms Dylan’s position as an elite interpreter and sculptor — not of just structure but emotion. Dylan delivers the tunes as if he’s known them forever. He plays with a subtle sense of mischievousness and retains a largely upbeat demeanour; his eyes seemingly twinkle as he sings and picks. His guitar serves as the guidepost for shuffles, boogies, ballads, and mess-arounds while his innate feel for each specific arrangement and melody helps inform pacing, tone, attack.

Like a great author, he understands the importance of adhering to concision, luring an audience, holding their attention, and maximizing the impact of details, actions, and unexpected turns. Though already coarse and ragged, his voice feels ideal for the subject matter and his phrasing — from the clever ways he stretches syllables to underline meanings on the surprise twists of “Canadee-I-O” to the sheer delight he gets from singing “rowdy-dow-dow” on the protest song “Arthur McBride” — outstanding.

Das letzte Werk von Kevin Coyne, eingespielt zwischen April und Oktober 2004 im MUSICATION Studio Nürnberg. Leider verstarb der Künstler, der nie ein Star sein wollte, im Dezember 2004 und konnte die Veröffentlichung seines Werkes nicht mehr miterleben. Begleitet wurde er bei der Aufnahme von Andreas Blüml und Michael Lipton (Akustik- und E-Gitarre), Harry Hirschmann (Bass) und letztendlich Werner Steinhauser am Schlagzeug, der maßgeblich an der Produktion beteiligt war. Dass dieses Album das letzte von über 50 Vorgängern sein sollte, konnte zu dem Zeitpunkt niemand ahnen. Umso mehr verdiente es den Preis der Deutschen Schallplattenkritik, der ihm posthum 2006 verliehen wurde. Nach zahllosen Tourneen und Auftritten, vornehmlich in seiner Wahlheimat Deutschland, wohin es ihn in den Achtzigern verschlagen hatte, hinterlässt er eine treue Fangemeinde, die den rebellischen, manchmal kauzigen, aber immer authentischen Musiker, Lyriker, Maler und Buchautor aus UK, niemals vergessen wird. Aus einem seiner letzten Interviews vor seinem Tod: "Lieder zu schreiben ist ein bisschen eine technische Übung, vor allem aber eine Form der Selbsttherapie. Auch wenn ich nicht in die Liga der Stars vordringen wollte, so war es mir doch wichtig, mir einen Namen zu machen."

Señor Sapo is a character created based on the Mesoamerican deity Quetzalcoatl:

while capturing Sr. Sapo atop The Pyramid of the Sun at Teotihuacan
in The Valley of Mexico; dawn…

Augie Robles (the photographer) spotted an elementary school class of around 25 children with two teachers suddenly appear scaling the momentous stair case behind our subject!

They shouted;

“Sr. Sapo! Sr. Sapo!”
the name has stuck! they wanted to have their pictures taken with Sr. Sapo? however; they did not want to touch him as they thought his skin might be “viscoso” or “slimy”?

“Q’uq’umatz” (as it is known amongst the K’iche’ Maya) goes back to the Olmec culture and represents the duality of flight to reach the skies; whereas the reptilian (in most cases a snake) represents the ability to mingle amongst other creatures of the Earth;
Among the Aztecs he was related to the gods of wind; of the dawn; of merchants and arts; crafts; knowledge and the planet Venus: as well as their patron god of the priesthood…

THE FUTURE S0UND 0f YESTERDAY is as well a construct of the imagination; a fictitious “orchestra” with many imaginary characters; KENT CHESTERFiElD; LEE NAilZ; PHATTITUDE; EPiPHANY TALEUR; ThE ClARKETTES (they actually exist in the “real” world)…

The titles:
“0de to A Tree”;
is the culmination of a night out in Berlin; “…met a young man in a bar close to the “atelier”; he said he wanted to play something on a piano; we go to the place and he plays this melody over a rhythm though not in rhythm?
…basically edited none of it; then used a series of tone generators and filters to change the sound into all the soundscapes you hear in the final piece; the title was simply a tribute to the trees…” Eric D. Clark

“is it good for Ya’?”;
is a slow pumping House song with a message in the form of a question; “is it good for you?” as in “I could do it; however; should I? you know; look in a mirror and ask the question”…
the Music came about as an experiment at NADEL EiNS Studio in Berlin; Heavy bass at around 116bpm plus Erix’s cheeky vocal stylings weaving in & out of frame (as well key) deliver a unique aural experience!

the final track:
“Elsewhere playback”
is literally the playback of a track Eric did under the guise of KENT CHESTERFIELD for a party series he did in Sacramento CA with AJ Sachs…
it’s really just a tool; the good thing is you can drop -8 (or -16 assuming your tables are tuned) to bring it to a tempo one could easily rap over OR push it up to +8 and have a dry Tech number? Either way it BANGS! Dub Plates & Mastering did a swell job!!

overall a must for any Dance Music aficionado’s collection out on October 10th on SHADDOCK RECORDS !

To celebrate the 25th anniversary of LA the Darkman’s Heist of the Century LP, Coalmine Records has partnered up with the Brooklyn native for a special edition vinyl reissue, marking the first time that the record’s been repressed since its original release. This album is widely regarded as one of the strongest and most underrated releases from a Wu-Tang Clan affiliate, and it’s easy to understand why once you hear its dynamic 18 tracks. The Killer Bee embodies the raw spirit of the Wu while adding his own signature gritty flavor throughout Heist of the Century. He shines whether he’s spitting solo on standouts like “Shine,” “Street Life,” and the title track, and when he’s joined by rap heavyweights like Raekwon, Ghostface Killah, Havoc, and Masta Killah. Rae actually delivers two show-stopping guest performances on”Az the World Turns” and “Spring Water.” The production lineup is just as serious, which boasts credits from the likes of RZA, DJ Muggs, Havoc, 4th Disciple, as well as Carlos “Six July” Broady who produced 10 tracks among others. Whether you were there day one, only started diving into the Wu’s vast discography recently, or somewhere in between, you’d be hard-pressed to find a better representation of their sound than Heist of the Century. “Heist of the Century undeniably continues in the vein of the surrealistic, orchestral sound that branded the Wu-Tang Clan as one of the most revolutionary hip-hop groups of the decade.” MTV.

Tricatel is proud to present, in a limited edition of 777 hand-numbered copies, the superb double vinyl/book dedicated to 7×7, inspired by Bertrand Burgalat.

Seven notes in the scale, seven days in the week, seven colors in the rainbow, seven wonders of the world, seven virtues and seven sins, seven ages of life, seven samurai, seven dwarfs for Snow White… Under the sign of 7, Belgian artist Jean Pierre Müller, in close collaboration with seven music legends (Robert Wyatt, Archie Shepp, Sean O’Hagan, Mulatu Astatke, Kassin, Nile Rodgers, Terry Riley), has conceived a magical project combining visual and sound compositions, in all senses and meanings.

In the summer of 2012, 7×7 was first presented to the public in its entirety at Edinburgh’s Summerhall, the start of a series of high-profile exhibitions and shows that have taken 7×7 from New York to Cannes. Ten years later, Jean Pierre and Tricatel would like to dream again with you, this time of a physical object celebrating 7×7 and offering the general public the opportunity to own a piece of the 7 colors dream.

This art and music object is a Gatefold double-vinyl, comprising two white vinyl records in printed inner sleeves and a 64-page booklet in the center, like a book.

The second crushing, soul mangling, neck bustin' album from Texas hardcore thrashers: Power Trip. Quite possibly the best thrash album you will have heard in the last decade. IMMENSE, MAMMOTH, MASSIVE.

Recorded by Arthur Rizik (Inquisition) , mastered by Joel Grind (Poison Idea, Toxic Holocaust) and features cover art by Paolo Girard. 
POWER TRIP is a real band like no other. Their raw energy, musical proficiency, perfect song structure, rich tones, fierce riffs, persecution, and collective attitude have seeded them as one of the most prolific underground staples in the US metal, punk, and hardcore scenes. POWER TRIP has relentlessly toured the world for years with the likes of Anthrax, Lamb Of God, Cro-Mags, Negative Approach, Turnstile, Backtrack, Eyehategod, Bane, Off!, and more, and has performed with countless others, in addition to pummeling audiences at major festivals all over the US, Europe, and beyond. The band will be touring endlessly in support of this new album!

Indie pop quartet Melenas hail from Pamplona, Spain, a picturesque region nestled just south of the Pyrenees. Such beauty can't help but inform the band's songwriting, but Melenas aren't content to just sit placidly & take in the scenery. Since they burst onto the scene in 2016, the band has hit the ground running, playing incessantly both locally & on the stages at national festivals like Primavera Sound & Eurosonic as well as releasing a debut full length (2018's "s/t" album) and a 7-inch single both triple-released on local labels Elsa, Nebula & Snap! Clap! Club. Trouble In Mind is honored to be releasing their new album Dias Raros and is the first label outside of Spain to release Melenas music to the world.Dias Raros hums right from the get-go, peppering their garage-pop punch with elements of lysergic dream pop, melancholic indie rock and strident guitar jangle. The album title translates to "Strange Days" an acknowledgement - according to the band - of "...those days where you spend more time inside than outside. Inside your own self, inside your bedroom and your own universe thinking about your wishes, dreams, memories, obsessions or fears." The lyrics - sung entirely in their native Spanish - reference "those interior dialogues where sometimes you fight to escape from a situation, you wonder what another person will be thinking about or feeling, you gotta say goodbye, or you just enjoy the time by yourself. Days that, for different reasons, you're feeling different, they are strange". Opener "Primer tiempo" buzzes with an urgent organ drone, unfolding into a yearning ballad of modern guitar-pop bolstered by the group's lush harmonies & sets the tone for the rest of Dias Raros. Songs like "No puedo pensar" "3 Segundos" and "Despertar" follow suit, with the rhythm section galloping headlong into an insistent guitar strum, while ballads like the tender "El Tiempo ha Padsado" rely on the band's melodious voices bolstered by a lilting guitar riff and gentle organ swells. Elsewhere mid tempo rockers like the stomping "Los alemanes", the simmering "Ciencia Ficción" and "Ya no es Verano"s insistent jangle recall underground greats like The Pastels, R.E.M. and Shop Assistants. "Vals" ("Waltz") closes the album in 3/4 time, named for the ballroom dance as well as the last name of a close friend - a dedication to her. Its dreamy sway alluding to classic Brill Building songwriting; dusted with melancholy, but lifted by cascading voices, and organ and guitar waves and guitars that twinkle and shimmer over a cracking backbeat. Dias Raros is the perfect introduction to a band bursting with promise, confidently inhabiting their own space built upon the foundation of their influences both geographically and culturally, as well as musically.

To Watch The Storms The next in the series of Steve Hackett vinyl editions, sees the release of his 16th studio album ‘To Watch The Storms’. Originally released in 2003, it featured his live band at the time, including Roger King, Gary O’Toole, Rob Townsend & Terry Gregory. It also features John Hackett and a guest appearance from Ian McDonald (ex-King Crimson). Available now for the first time ever on vinyl, the album has been remastered especially for the format and comes as a Gatefold 180g 2LP. Includes the bonus tracks from the 2013 digipak reissue. Wild Orchids: The next in the series of Steve Hackett vinyl editions, sees the release of his 18th studio album ‘Wild Orchids’, available on wax for the first time ever. Originally released in 2006, this album saw Steve joined by familiar faces Roger King, John Hackett, Rob Townsend, Gary O’Toole as well as The Underworld Orchestra, which added glorious string and brass flourishes to the sound. The album includes Steve’s cover of Bob Dylan’s ‘Man In The Long Black Coat’, as well as ‘Reconditioned Nightmare’ which was a re-recording of the track ‘Air Conditioned Nightmare’ from his 1981 album ‘Cured’. Available as a Gatefold 180g 2LP.

Drawing inspiration from his homeland Germany, with a particular focus on the organic house and techno scene of Berlin, Sanoi has meticulously crafted Echoes Of Home to reflect his diverse influences.

Echoes Of Home finds Sanoi challenging conventional music production norms, steering clear of familiar tropes and techniques. The result is eight carefully curated tracks with a rich tapestry of ambient layers, recorded sounds, and melodies that range from quirky and playful to nostalgic and melancholic. The finely crafted drums take centre stage, emphasising the unique groove that defines Sanoi's distinctive sound.

The album traverses warm, bouncy & melodic house music, with touches of deep-house, techno & organica. While largely instrumental, the album’s centrepiece is a collaboration with Christchurch artist Beacon Bloom on the track ‘Silver’. Both artists previously collaborated on the popular single ‘Club Jesus’, once again featuring Ryan Ferris' delicate yet strong vocals. The final track on the album, ‘Moon Boy’ offers a few moments of quiet as the journey draws to an end with just Sanoi & his piano.

Created at his home in Auckland, and road-tested across multiple live performances across NZ & Australia over the past two years, Echoes Of Home sees Sanoi’s composition & production step up another level. Available on limited edition vinyl, the digital release also includes an eclectic collection of four remixes from acclaimed New Zealand artists micronism & Paige Julia, alongside German producers Gabriel Ananda & Fabian Krooss.

Over the past five years, Sanoi has become an integral part of the growing underground house and techno scene in New Zealand, all the while expanding his international presence with releases on labels Bar 25, Stil Vor Talent, Magician On Duty, and Zehn Records. Sanoi's music has already gained support from student radio stations in New Zealand and has caught the attention of tastemaker DJs worldwide

EVOLV is a visionary window into the mind of Dubfire, the journey of the ‘hybrid’ being and its evolution. Last year in October, an 11-track debut album was released on his long-standing SCI+TEC imprint. And now, just over a year later, Grammy award winning producer Dubfire returns to that sonic discourse, drafting in an impressive array of names to re-interpret the material, and accompanied by Dubfire's new audio-visual EVOLV show which picked up where the critically acclaimed electronic performance experience HYBRID had left off.

The eclectic package will include such notables as Glaskin, Arjun Vagale, Nadia Struiwigh, Mathimidori (dub alias of Mathias Kaden), Maral, Decka, Carl Craig, Truncate, Drumcell, Chris Liebing, Radio Slave and Luke Slater who have all given the original music in their own unique style.

With a career spanning over 3 decades, Dubfire has achieved global success as an artist with relentless drive, talent, and intuition. Pioneering commercial notoriety came initially as one half of the Grammy Award-winning (2001) duo Deep Dish, before embarking on a truly groundbreaking solo career in 2007. A career filled with timeless tracks include his early works, ‘RibCage’ (2007), ‘Emissions' (2007), ‘Roadkill’ (2007) and the highly acclaimed ‘Grindhouse’ (2009) remix from Radio Slave which led to a host of other notable projects over the years.
Collaborative work highlights include projects with Miss Kitten, Luke Slater, Flug, and Oliver Huntemann, as well as co-producing two songs on Underworld’s Barking album. A true artist, he has always been heavily invested in exploring performance technology, unveiled to wide praise with his HYBRID live show. A two-year world tour commenced in 2015 and was followed by his retrospective album, A Decade Of Dubfire (2017), a celebration of his immense output during the first 10 years of solo artist stardom. EVOLV is Dubfire’s debut solo artist album.

"Richard Edwards is in the pocket. He’s been there for several albums now: 2017’s Lemon Cotton Candy Sunset, 2020’s The Soft Ache & the Moon, and 2022’s Ghost Electricity/Vampire Draw. Just as the Margot records defined his twenties, this “Beach Bum” era, as he calls it, may well define his thirties. That era is expanded in Two Sad Little Islands Drift Together, Two Lonely Little Monkeys Find A Tree: Rare and Unreleased 2015-2023.

Beginning with Lemon Cotton Candy Sunset, Richard has been steering his ongoing body of work toward capturing a feeling of being at sea. Life can find us at sea in any number of ways–in a marriage or partnership, or in longing for one; in parenting, and its ceaseless wonders and worries; in bodies and minds that confound understanding (whether just our own, or also that of professionals); in our rotting world, which we’ve fucked up beyond all repair.

“What does that sound like, though?” you may ask. Like Mike Bloom’s cascading fingerpicking in “Lil Dead Eye-d (b.),” or the tranquilizing combination of Dave Palmer’s piano and Perla Batalla’s multi-tracked vocals on “Love (b.)” Like the L.A. based Section Quartet on “True Love Waits,” or the triumphantly stoned Velvet Ocean jam-session that is “Jane Greer With A Gun.” Like Richard’s use of melody and imagery on “Pink Lightning (b.)” and lead single “Benzedrine,” where he is masterfully accompanied by Erin Rae (on the former) and Maria Taylor (on the latter).

Unlike Richard’s past archival releases which have often featured home demo recordings, everything on Two Sad Little Islands has been produced in-studio. With this 3-LP vinyl set, Richard presents just over two hours of material that once again makes his case as one of the “most underrated songwriters of our time” (LA Review of Books)."

Two previously unreleased collages for magnetic tape, both realized at the Studio di Fonologia Muisicale RAI in Milan. These pieces are precious testimonials to Aldo Clementi's intense and ongoing interest in electronic music in the 1960s. The electronic composition »Collage 2« from 1960 was his first experiment with electronic music. »Collage 3« dates back to 1966. It's an electronic collage on »Michelle« by The Beatles.

The composer wanted to replace old concepts and clichés which had become popular and common, through the use of "natural wells of timbre, live and organic, springing from a world of symmetry and fixed blocks." This original idea underwent a drastic transformation when the RAI (the Italian radio) commissioned Clementi to write a longer work. To his initial desire to start from scratch was added the problem of a longer duration. It was only when Clementi had almost completed the piece that he gave it its final title of "Dies irae," owing to the extreme tension that accompanied its composition.

Die nächste Veröffentlichung in der Reihe der Steve Hackett-Vinyl-Editionen ist sein 16. Studioalbum "To Watch The Storms". Ursprünglich erschien es 2003 mit seiner damaligen Live-Band, zu der Roger King, Gary O'Toole, Rob Townsend und Terry Gregory gehörten. Außerdem sind John Hackett und ein Gastauftritt von Ian McDonald (Ex-King Crimson) zu hören. Das Album ist jetzt zum ersten Mal auf Vinyl erhältlich. Es wurde speziell für dieses Format remastered und kommt als Gatefold 180g 2LP. Enthält die Bonustracks der Digipak-Wiederveröffentlichung von 2013.

So, It's Like That is the second studio album by Joe Bonamassa and originally released on August 13, 2002. Contrary to Bonamassa's 2000 debut album A New Day Yesterday, which featured a mix of original songs and cover versions, So, It's Like That is made up almost entirely of tracks written by Bonamassa and a range of collaborators.

With 27 #1 albums, yearly sold-out tours worldwide and custom nnual cruises, he's a hard act to beat. These albums are a testament to his credentials and a toast to his longtime fans who remember them originally and new fans who can experience them for the first time.

It's Joe Bonamassa at his finest, ready to rock

With Scream If You Don’t Exist, Richie Culver metamorphoses from outsider musician to underground fixture, feeling his way from the fringes towards a growing community of musicians that have gravitated towards his singular sound world. Building upon the stark catharsis of his previous dispatches, on his sophomore album the artist draws from grimdark drone, industrial noise, experimental hip-hop and UK rave to map out a space for himself, caught between genre and discipline. While on his debut, I Was Born By The Sea, Culver took a last glimpse back at his grey, salt-flecked past while struggling towards somewhere brighter, here, he documents the process of finding fresh waters, parsing through the complexity of inhabiting a more open and optimistic place while contending with the weight of his resolve, staring hard won self-acceptance in the face. The album’s title speaks to this creative and emotional work, serving both as the foundational paradox from which the artist’s new discordant sound emerges and as a call to action, a defiant cry in the face of existential angst.

Part of this process involves visiting familiar territory with renewed focus. Macabre opener ‘Hottest Day Of The Year’ signals an unpleasant memory with crow caw, queasy, gas leak ambience and dental drill whir as Culver recalls a life lived in nihilism: “Everything is just something that happened / Reductionism, muscles spasms, a mother’s first contraction.” Yet, on Scream If You Don’t Exist, Culver’s irresistible formula for ragged machine poetry is shot through with palpable urgency. No longer listless and despairing, he finds new intricacies for these compositions, tracing a stark interplay between crushing bass excavations and penetrating vocal clarity, a contrast picked out in the delicate threads of rhythmic pulse suggesting themselves in the blunt pressure and skittering creep of ‘Weakness’, on which Culver offers up vulnerability as a tentative solution to self-described emotional constipation: “Please do / Do take my kindness for weakness / For I am weak / And that is ok.” The amniotic soundscape of ‘YOLO (then u die)’ gives way to depth charge drone and unnerving machinic improvisations, like a noise show heard from deep in the Mariana trench, while on ‘Underground Flower’ the low-end fog lifts to reveal a brighter, colder scene. “Love me for who I could be / Not who I am,” he pleads, tending gently to his own tenacious bud.

Scream If You Don’t Exist gives us a glimpse of this flower in bloom. On the album’s cursed self-help tape title track stuttering loops of off-kilter keys and childlike repetition make light of the very real risk of disappearing all-together, a nervous breakdown rendered as a malfunctioning nursery rhyme. Paranoiac anthem ‘Say 4 Sure’ introduces bit-crushed boom-bap stomp, as though hammered out on a water-logged Game Boy, swarms of loose-wire noise sparking up against guttural grunts and ragged exhalations, while ‘On The Top’ enacts a seance for the hardcore spirit, with loops of rave piano and hiccuping vocal chops pirouetting through knackered samples, air raid sirens and the ghostly crash of breakbeat cymbals. As though in response to the solitary nature of much of his musical exploration, this time, the artist invites other voices into the world of Scream If You Don’t Exist. On ‘Swollen’, the unflinching, brimstone prophecy of Billy Woods sounds clear through an expanse of spirallic bass, preaching the same frayed gospel as Culver when he issues the quietly devastating contemporary diagnosis: “Computer broke but it still works for now / That’s the best you can say for most of us anyhow,” while another fearless correspondent from the fringes, Moor Mother, brings earthbound heft to the ambient drift and obliterating barrage of ‘Restaurants,’ teasing out meaning with elongated intonation and pitch-shifted intensity.

It’s during the album’s most meditative moments that we might recognise this space Culver has found for himself for what it really is. ‘OMG They’re Gone’ follows a chopped and slowed monologue from Culver’s wife, who works as a death doula, reflecting on her own experiences with grief and the reality of living within a culture both terrified and ignorant of the process. Floating over glistening ebb, etherised croons and luminous chimes, her words stand as a prescient reminder of the power of ephemerality. Just as Culver flourishes in imperfection, here we can find enormous strength in transcience. But it’s with ‘Just Jump In,’ which unfurls like a buoyant counterpart to the sparkling oil rigs of ‘I was born by the sea’, that Culver illuminates the hopeful waters we realise we’ve been making our steady way towards. “I know now / That you loved me,” he admits, a revelation a lifetime in the making. Through the rawest reflection Culver has found a way forward, driven by an optimism drawn from a resolve to be better, to love and be loved, an admission to weakness and the discovery of a new kind of strength. “Don’t test the water,” he reassures us and himself, “just jump in.”

Scream If You Don’t Exist will be released in November 2023 by Participant, on limited edition vinyl, and digital download . The release will be accompanied by a series of films directed by Mau Morgo, Josiane M.H Pozi, William Markarian-Martin, Simon Bus, and Bruxism.

“The Hype” is an expansive pop anthem that shows us everything we have come to love about the pop sensation, with gritty lyricism and melodies that don’t have an endpoint and keep rising.

Asking the question: did I live up to the hype? Sigrid finds a universal feeling encapsulating revelations on career and relationship successes.

This quick-witted power anthem is both tongue-in-cheek and blunt, a full circle moment from Don’t Kill My Vibe, which was the beginning of Sigrid's Hype. , Sigrid remains one of the most understated pop stars, wearing T-shirt and jeans to play live on stage, picking practicality over what is expected of young female artists in the music industry.

Staying true to herself, the visuals for “The Hype” are reminiscent of Sigrid’s debut EP; with no props to lean on and no grandiose concepts, just Sigrid, honest and raw.

With two top 5 critically acclaimed albums under her belt, 2019’s Sucker Punch and 2022’s How To Let Go, arena shows in both London and Ireland, global world tours from Japan to LA and festival performances from Glastonbury to her first UK festival headline at Belladrum in Scotland, Sigrid has become one of the leading live pop acts of her generation

'Ultrasound', the fifth release under the Banger Factory umbrella, is a further stride forward toward founder and trumpeter Mark Kavuma's vision of bringing together seemingly disparate elements from within the bubbling London jazz scene, uniting sounds, and players from across generations and creating a unique, exciting, and fresh sound all its own Marking the start of a new partnership with alto sax player Theo Erskine strengthening the imprints artistic reach and sparkling ever more creative ideas, Ultrasound is the product of hours and days spent practicing together during the pandemic - hours and days that turned into time spent plotting and planning future musical collaborations and projects when getting together in person became impossible. The recording itself captures the zeitgeist (spirit) of a unique moment in time when musicians starved of creative, collaborative music- making during the pandemic, were able to meet again and record, each track suffused with palpable joy, yet tinged with reflection. 'The Day After Tomorrow' promises respite from a hangover, 'The Return of Johnny Bravo' characterises a re-emergence in a whirlwind of excitement . 'June' describes the glinting skyline of a world- reopened and 'The Loneliest' explores how peace is drawn from inward sources in the loneliest of times. Personnel: Theo Erskin- tenor saxophone, Mark Kavuma - trumpet, Noah Stoneman - piano, Michael Shrimpling - double bass, Shane Forbes - drums

Compiling the follow-up to a very successful first album is always a tricky task, but just 12 months since the release of volume one in the 'With Love' series, miche has excelled himself once again with another glorious, deep dive into the world of rare soul. 15 tracks of independently released music, created by magnificent artists with stories to tell and primed for rediscovery.

The ambition to celebrate under-the-radar artists has remained, but instead of a facsimile of volume one, what we have here is a selection shaped by life changes. Volume two is for the dancers; still soulful, still ultra-rare and slept-on records from the USA, Chile, Brazil and beyond, but the dynamics of the collection have shifted slightly. It represents a move from being immersed in a week in week out environment of beautiful, soulful music in a cosy, dimly lit hi-fi bar to playing livelier, more energetic, dancefloor-focused music in nightclubs. This volume will get you on your feet, make you move and unleash whatever it is that makes you get down.

One of the jewels in the crown of this compilation is a joyous, anthemic gospel version of Stevie Wonder's 'As' by The Family Tree (a project produced by the fantastic Julius Brockington). We are also treated to a rare and sought-after Pennsylvanian funk / AOR bomb by Maxwell, a stunning modern soul tune 'High On You' by Freedom, and self-released Brazilian 45s by Banda 22 and Zé Da Lata. P.J. City's 'Straight Forward (Non-Stop)' is gospel-disco perfection, and we also have 'Dame Solamente Amor’, a sublime, soul beauty from Chile by Rogers Mitchell. Many of these artists featured in this compilation aren't household names, but they deserve their moment to shine, to be heard, loved and appreciated for their artistry.

As Miche says it, “I hope this compilation helps in some way to keep this glorious music alive and play a part in connecting generations of music lovers from the worldwide soul family. As always, it has been made ‘With Love’.”

KingUnderground & Delicious Vinyl present a lovingly re-issued version of this sought after & seminal hip-hop record, with all beats by J Dilla, featuring Common, Talib Kweli, Posdnuos, T-3 & Guilty Simpson, and the first time re-issued on vinyl since 2013.

Back in 2008, just two years after James Yancey aka J Dilla’s passing, Mike Ross, founder of Delicious Vinyl, presented J Dilla’s mother Maureen Yancey (aka Ma Dukes), with a vault of unreleased beats from her late son. Following Dilla’s childhood friend (and longtime collaborator) Frank Nitty (Of Frank N’ Dank) was a part of a group of confidants, who lovingly went through the treasure chest of music, formulating a tribute to their departed friend the best way they knew how. With hundreds upon hundreds of instrumentals to choose from, Nitty and Dilla’s brother Illa J narrowed the pile down to a collection of about 50 tracks, some of which would become the building blocks of their debut 2013 Yancey Boys album, ‘Sunset Blvd’. Upon its release in 2013, the LP (which featured appearances from Hip-Hop royalty including Common, Talib Kweli, Posdnuos, T-3 & Guilty Simpson) became an instant classic, gaining recognition from tastemakers across the world.

Even without J Dilla’s presence during the record’s creation, Frank & Illa J were able to harness Dilla’s omniscient creative energy during the production process of making Sunset Blvd. His contributions and spirit couldn't help but permeate the beats, the undeniable foundation for the tracks on the record. “Beyond the beats, his fingerprints were all over the record, in the guest artists we chose to ask for a feature, to the guys mixing and mastering. Most of whom he (J Dilla) worked with before he passed”, said Frank.

Through Delicious Vinyl, ‘Sunset Blvd’ and the accompanying instrumentals were both released on wax in 2013, but have not been reissued since, until now. Thankfully, UK based label King Underground (AKA KU) have once again made this seminal record (and instrumentals) available.

KingUnderground & Delicious Vinyl present a lovingly re-issued version of this sought after & seminal hip-hop record, with all beats by J Dilla, featuring Common, Talib Kweli, Posdnuos, T-3 & Guilty Simpson, and the first time re-issued on vinyl since 2013.

Back in 2008, just two years after James Yancey aka J Dilla’s passing, Mike Ross, founder of Delicious Vinyl, presented J Dilla’s mother Maureen Yancey (aka Ma Dukes), with a vault of unreleased beats from her late son. Following Dilla’s childhood friend (and longtime collaborator) Frank Nitty (Of Frank N’ Dank) was a part of a group of confidants, who lovingly went through the treasure chest of music, formulating a tribute to their departed friend the best way they knew how. With hundreds upon hundreds of instrumentals to choose from, Nitty and Dilla’s brother Illa J narrowed the pile down to a collection of about 50 tracks, some of which would become the building blocks of their debut 2013 Yancey Boys album, ‘Sunset Blvd’. Upon its release in 2013, the LP (which featured appearances from Hip-Hop royalty including Common, Talib Kweli, Posdnuos, T-3 & Guilty Simpson) became an instant classic, gaining recognition from tastemakers across the world.

Even without J Dilla’s presence during the record’s creation, Frank & Illa J were able to harness Dilla’s omniscient creative energy during the production process of making Sunset Blvd. His contributions and spirit couldn't help but permeate the beats, the undeniable foundation for the tracks on the record. “Beyond the beats, his fingerprints were all over the record, in the guest artists we chose to ask for a feature, to the guys mixing and mastering. Most of whom he (J Dilla) worked with before he passed”, said Frank.

Through Delicious Vinyl, ‘Sunset Blvd’ and the accompanying instrumentals were both released on wax in 2013, but have not been reissued since, until now. Thankfully, UK based label King Underground (AKA KU) have once again made this seminal record (and instrumentals) available.

Circular patterns morphing through time, loop and ritual form the fabric of Proserpine, the latest work by Leeds-based musician, Teresa Winter. Recorded from a summer to a winter through 2021 and 2022, Proserpine is Winter's most cohesive, focused music to date: confidently revelling in space, fixating on isolated sounds and giving way to satisfying, swirling waves of vocal and electronic buzz. Proserpine is Teresa Winter's debut recording for Glasgow-based label, Night School.

On Proserpine, musical patterns revolve and intersect with each other, transmogrifying the music's narrative. Over-arching themes emerge: continual change, elusiveness. Insubstantiality emerges into concrete reality in the form of recognisable field recordings: the purring of a pet cat, the hum of a live cable. The loops and patterns are sometimes just out of sight, the click and whirl on Child Of Nature is the backdrop to hymnal vocalisations by Winter, who intones spell-like text in conversation with herself. On opener Circles, Winter's vocal is pre-linguistic, detached syllables falling into flowing streams, before Plume's field recordings seem to juxtapose nocturnal and diurnal wildlife. "You said I was a Flower Of The Mountain" sings Winter, as James Joyce's Molly Bloom does but the carpe diem desire in Ulysses is dissipated here, spread out by gauzy, droning organs. Here desire is blown up and out, changed into something undefinable but no less powerful.

Change is at the heart of the album. The Roman goddess Proserpine, herself a reimagined version of the earlier Greek goddess Persephone, is always between: between summer and winter, the land of the living and the underworld, constantly emerging into new states of being. It's a fitting metaphor for Winter's work. Like an Apple feels like it soundtracks this in-between state, long, trailing reverb smudging synth keys and Winter's achingly beautiful vocal performance. The effect is stirring but flitting in and out of perception, sometimes Winter's presence feels of this world, of musical instruments and practises and at others it feels like the music is about to phase into a different plane, a different universe.

While Proserpine references the myths and cults of the classical, pre-Christian era, Winter's restless preoccupation with the mechanics of religion informs the album in other ways. Ritual is present through out, either in the mantra-like vocalisations or even the private rituals we are invited to witness: on Fireworks the listener eave drops into the protagonist's private bonfire. On the stunning Lamento, layers of Choral vocal interlock in celestial patterns that recall catholic mass: it's an overt effect that simulates the ecstasy of religious fervour and also reminds the listener of the use of vocal that runs through Proserpine. Winter's vocals often echo with the euphoria of obliteration, of disintegrating in an awful bliss. It's an effect achieved with finality by the closer New Water as the piece begins with voice before burning up in the atmosphere of elegiac violins and enveloping undertows of whirring synth patterns and ghostly pads. Proserpine is forever turning, changing, always elusive and quietly revelatory.

EVERIS'S NEW ALBUM FOR THIS CHRISTMAS 2023

Everis has returned this Christmas with yet another Sell Out vinyl that will make your collection the envy of the Soul Music World!

This new offering by the soul legend Everis entitled, Everis - “Songs in The Key of E”. This limited-edition vinyl album is scheduled for a Christmas 2023 release and features some enormous brand-new tracks. This album comprises of two magnificent award-winning singers, two international rappers, from the US & UK, plus one of the UK’s Biggest Sound System Dance MC’s performing on it. This solid Holiday vinyl smash, see’s Everis deliver exciting vocal performances, with a real feel-good factor, over these tough rehashed and fresh sounding beats that are bound to make you wanna get up and dance, there are 8 solid tracks in all.

Grammy Award winning US singing sensation, Shirley Jones of The Jones Girls, best known for her numerous No:1 hit both here and, in the US, has finally jumped on a record with Everis. She last worked with him on her smash solo album entitled “Shirley” many moons ago, and of late as part of the “Soul Syndicate” crew that remixed her ‘Soul Steppin’ track. Now they have come together on a monster track entitled “This I Know - Filly B Mix (featuring Cam Jones)” which is an absolute club banger for sure, an instant underground hit!

The rest of side A called “This Side” has even more really banging tracks, a Club / House Party smasher entitled, “Come Home Tonight” and the coolest sexiest Neo Soul Vibe titled, “Just Say the Word” with Everis giving a spine-tingling vocal performance that would leave the toughest of you feeling weak. The album also features Everis’s last UK Soul Charts No.1 Christmas hit “What You Doing to Me” which totally sold out in just one day, and had Everis’s name and music heard / played everywhere in the UK, and also earned him yet another award. The album is littered with great music from Mr Smooth from start to finish, with Fresh Cuts too, just take a look.

Piero Zuffi made this bizarre film set in the seedy underbelly of Off-Broadway productions, hippie communities, S&M bars and bike gangs.

BLACK VINYL PRESSING OF 500 COPIES WORLDWIDE.
The story follows a serial killer on the loose and an investigator looking
into an heiress’ kidnapping. With the help of editor Franco Arcalli, the
movie was reconfigured into an effective fever dream with a non-linear
structure.
Once more the music composed by maestro Piero Piccioni is better than the movie.
A wonderful kaleidoscope of psychedelic oddness favors the composer’s jazz roots and strong percussion work, but also features delightful bursts of source music as well as the self-contained brilliance of the occasional set pieces—including background scores for the experimental productions of the Off-Broadway world.
This highly addictive score, impossible to find on the original LP released by RCA in 1970 and reissued on vinyl only by South Korean label Beatball can finally benefit from a meticulous restoration from the original master tapes, thanks to the involvement of Piccioni’s family.
It’s exactly like buying a copy in 1970 without any compression and digital artifacts.