Поиск:v one

Concrete Noir is the latest project from multimedia artist and sound designer Piero Fragola, known for genre-defying ventures like We Love (BPitch Control) and ANGLE (Tiptop Audio Records). With this project, he explores a hybrid space where electronics, voice and image merge into an introspective and shadowy form. The debut album, Romance Ruins, is the first release on the newly founded Frequens Records.

Composed entirely using Tiptop Audio’s ART modular system, it unfolds as a series of layered, emotionally charged compositions. These are structured songs with a physical low-end impact.

Musically, Romance Ruins moves beyond genre boundaries to inhabit a space shaped by contrast and collision. The result is a form of modern hybridization—melancholic yet forceful, intimate yet expansive. The sonic identity is carefully constructed but deliberately raw, emphasizing emotion over precision.

The title itself captures the core of this paradox. Romanticism, in its intensity, may ultimately destroy. And yet, from that destruction, something vital emerges. The album embraces the figure of a decadent hero—a child of broken ideals who reclaims beauty from collapse. It’s a romantic vindication of decadence, a belief that clarity can rise from ruin, and meaning from fragmentation.

Moving through a broad range of tempos, the tracks explore murky, melancholic, tactile and cinematic moods. Synths intertwine with guitars (Fender and Gretsch Dobro). All vocals are performed by Piero Fragola, except on Faraway Places, where his voice is joined by that of Viktoria Lishkee—the album’s only guest appearance.Nearly every track is paired with a video, expanding the work’s audiovisual dimension. As a designer for Tiptop Audio and instructor at IED and LABA in Florence, Fragola brings a multi-sensory vision to Concrete Noir—one where medium and message, form and feeling, are inseparable. With Romance Ruins, he delivers an artistic statement. A body of work that resists categorization and embraces the beauty of decay.

Romance Ruins marks the beginning of Frequens Records. Available in a 180-gram vinyl edition.

Dâm-Funk & Lorenzo Soria RETOUCH Elkin & Nelson's Balearic Classic "Vámonos". A Cross-Continental Tribute form the West Coast Funk to Andalusian Rhythms.
Hand stamped 10"

Two generations, two continents, and one timeless Balearic groove — “Vámonos”, the 1970s classic from Colombian-Spanish duo Elkin & Nelson, gets a retouch by the hands of Dâm-Funk and Lorenzo Soria. Infusing the track with new sonic energy while paying homage to its iconic roots, this version of “Vámonos” travels from the beaches of Ibiza to the sun-drenched streets of Los Angeles and Seville.

Together Dâm-Funk — a pioneer of modern-funk and longtime ambassador of the West Coast boogie-funk sound. Known for seminal albums like “Toeachizown” and “Invite the Light” on Stones Throw Records, as well as collaborations with Snoop Dogg, Ariel Pink and Christine and the Queens, Dâm-Funk brings his signature analog synths and laid-back groove to the mix. His unmistakable style draws deeply from Prince, Slave, and the golden era of 1980s funk.

Lorenzo Soria represents a new generation of global-minded producers reshaping the electronic landscape from Southern Spain. A native of Seville, Soria’s collaborations with, Califato ¾, draws from reggaeton, EBM, punk, and traditional Andalusian folklore, Lorenzo’s rhythmic palette is both eclectic and rooted. His contribution to “Vámonos” brings percussive depth and vibrant energy that pulse with Mediterranean warmth.

Together, Dâm-Funk and Lorenzo Soria have created a two versions of “Vámonos” that is both respectful — with lush keys, hypnotic percussion, and genre-defying flair, this collaboration reinvents a Balearic gem for a new generation of listeners and dancers.

What began as a nostalgic nod to Camden Market’s bootleg culture has become the next chapter of in the Running Back Mastermix series. At once deeply personal and openly communal, it shows how a lifetime of production can be condensed into 90 minutes without losing its edge — proof that the mixtape, even in 2025, still has stories left to tell.
What followed was a patient excavation. Old DATs were pulled out of storage, forgotten files surfaced from hard drives, and new material was written to sit alongside them.
Together, these fragments revealed a body of work stretching back more than 25 years — tracks that moved across the spectrum of house and techno but shared a common thread of character and atmosphere.
In May of this year, the archive finally found its form. Recorded live on three decks using Serato, the resulting mix brings together 24 tracks: unreleased material from the past and brand new productions, all stitched together into a continuous narrative. It’s equal parts retrospective and statement of intent — less a museum piece than a living document.

Epsilon Record Co is pleased to introduce its latest release ICE CREAM.

The two previously unissued tracks from 1978, recorded in Los Angeles, California, re-mastered by Steve Fuji.

Steve Fuji and I have collaborated on several projects including Paris Ford, The Kopestetics, Real Side, Taxie, Kenyatta, Henderson & Jones, Natural Impulse, Ray Williams & Prime Cut. He is a valued member of Epsilon Record Co and we are grateful for his assistance and expertise.

Several years ago Steve informed me that he had a master tape from a recording session he conducted in 1978 (he believes it was at Mystic Studio) from one of the original members and co-founders of Taxie, Charles Erwin Williams II, also known as ‘Ice Cream’.

The tape was in good condition and the original version of With Love You’ll Find A Peace Of Mind was 7 minutes 38 seconds. I asked Steve if it was possible to shorten it to approximately 3 minutes.

A few days later I received several versions re-mastered and re-mixed by him and we both agreed they sounded excellent.

We hope you will enjoy this as much as we do. It is a fantastic piece of unheard Californian soul music available exclusively on Epsilon Record Co.



The B side Seaside Vibe is a killer funky instrumental with an amazing production.

Unfolding ist Jessica Moss' meditativstes und klagendstes Soloalbum und vielleicht das erste in der jahrzehntelangen Diskografie der Violinistin und Komponistin aus Montreal, das man zu Recht als Ambient bezeichnen kann. Die ehemalige Mitglied von Silver Mt Zion und Black Ox Orkestar schöpft aus Postklassik, Drone, Minimalismus, Industrial/Metal, Power Electronics, Klezmer und anderen Folk-Traditionen. Es handelt sich hierbei nicht um abstrakte Ambient-Musik; vielschichtige Violinenmelodien, elektroakustische Bearbeitungen, intermittierende Stimmen und Percussion von Tony Buck, dem Schlagzeuger von The Necks, bringen zutiefst emotionale, genreübergreifende Kompositionen hervor, die von einem Geist der Suche und Beschwörung geleitet sind und sich in einer vorherrschenden Atmosphäre von Beschwörung und trauernder Zurückhaltung entfalten. Die Untrennbarkeit von Persönlichem und Politischem hat sich für Moss in den letzten zwei Jahren immer stärker herauskristallisiert. Als Kernmitglied der Montrealer Sektion von Musicians For Palestine hat sie mehrere Benefizkonzerte mitorganisiert und gespielt und im Frühjahr 2024 das Soloalbum For UNRWA veröffentlicht (das über 800 Unterstützer fand und Tausende von Dollar einbrachte). Später im selben Jahr zerbrach ihre langjährige Fernbeziehung aufgrund politischer Differenzen. In enger Zusammenarbeit mit dem Produzenten Radwan Ghazi Moumneh (Jerusalem In My Heart) entstanden ,Unfolding" in den letzten zwölf Monaten, dem zweiten Jahr des Völkermords in Palästina, als direkte Reaktion auf unser kollektives Miterleben, unsere kollektive Trauer, als Portal zur kollektiven Trauer, als Suchscheinwerfer durch unsere inneren Wettersysteme, auf der Suche nach einander in der Dunkelheit. Moss bewegte sich bereits in Richtung einer erhöhten Fragilität und einem tiefen Zuhören, ihre Musik wurde zunehmend langatmig und zeremoniell. Trotz der stark gesunkenen finanziellen Rentabilität von Tourneen wurde ihre Hingabe, Raum zu schaffen, Verflechtungen herzustellen und eine Verbindung zu einem intimen Live-Publikum aufzubauen, zu ihrem kreativen Leitstern, ihre Solo-Praxis wurde durch ihr Engagement und die Kommunikation in diesen Räumen geprägt. Die jüngsten politischen und persönlichen Umwälzungen haben diese ritualisierten, reparativen musikalischen Prozesse nur noch verstärkt. Die beiden langen Stücke auf der ersten Seite von Unfolding verkörpern diese Sensibilität. ,Washing Machine" verwebt Schichten von Streicherdrones und Filigranarbeit, sanft verzerrt durch Verzerrerpedale und Verstärkung, wobei unentzifferbare, ausgeblasene Sprechstimmen den Mix zeitweise als fragmentarische Palimpseste verhüllter Rezitationen und unbeschreiblicher Gefühle umhüllen. Der Ursprung des Stücks liegt in einer Telefonaufnahme einer europäischen Waschmaschine, die Moss aufnahm, als sie neben ihr saß, mit gebrochenem Herzen auf dem Badezimmerboden, und Trost fand, indem sie eine Melodie zu den mechanischen Obertönen der Waschmaschine summte, die ihren Zyklus durchlief. Das Herzstück des Albums, ,One, Now", beginnt als zarte Anrufung mit Basspuls, Glockenspiel und Glocken, gezupften Saiten und traurigen Lead-Violinenlinien, die von jüdischen und arabischen Modi beeinflusst sind. Umgebungsgeräusche, Feldaufnahmen und wortlose Gesänge werden hinzugefügt, während sich Violinenmelodien überlagern und zu einer hypnotisierenden Drone-Landschaft verschmelzen: eine halb improvisierte, lebendige Komposition, die durch Tony Bucks pinselstrichartiges Schlagzeugspiel und Moumnehs ,Schrei in die Leere" am Ende noch weiter belebt wird. Die zweite Seite ist ein vierteiliges Werk mit dem Titel ,no one / no where / no one is free / until all are free", das sich durch Umgebungsgeräusche, elegische postklassische Streicher und verzerrte harmonische Drones zu einem Höhepunkt aus liturgischer Orgel, rituellen Glocken und schimmernden elektronischen Spuren entwickelt, der die Bühne bereitet für den letzten Song des Albums: die erschütternde Chor-Komposition ,until all are free", eine weltliche Hymne, die aus Jessicas mehrspurigen Gesangsaufnahmen besteht (die sie aber gerne mit anderen im Konzert singen würde). Unfolding ist ,einem freien Palästina in unserer Lebenszeit" gewidmet. Danke fürs Zuhören.

Manteca’s 2014 album, first time on vinyl. Manteca, the London Latin jazz/salsa funk combo, are back with a first-time vinyl release of their brilliant digital album “Oye” from 2014. “Oye” is a collection of heavy-duty Latin music that reaches well beyond the standard salsa or Cuban dance-band style, appealing to anyone and everyone, from mambo dancers to B-boys, jazz brothers to soul sisters! Led by Colombian singer Martha Acosta and bassist Javier Fioramonti, who have played with everyone from Roberto Pla and Candela, to Alex Wilson’s groups and Salsa Celtica, as well as backing Latin legends such as Joe Bataan, Jack Costanzo, Henry Fiol and Azuquita, this band really cooks! “Que Pasa” is smoking Latin funk, this will get your head nodding and foot tapping for sure.“Oye”, a lovely mid-tempo Afrobeat/Latin jazz fusion number with punching brass and super-funky kit playing. There are three cover versions on the album: Horace Silver’s “The Jody Grind”, a 1960s Blue Note Records soul jazz classic. Manteca does it justice, taking the original and turning it into a heavy Mongo Santamaria style funky Latin soul belter. Sergio Mendes’s “Groovy Samba” is also given the 1960s Mongo “Watermelon Man” style Latin soul jazz treatment. Very hip arrangement, and some fantastic brass soloing in there too. The last one is a brave choice. It’s the timeless bolero standard “Como Fue”, which the band plays beautifully. “Para Pello” (“For Pello”), a conga-style big percussive beat that evolved from Afro-Cuban street carnivals. Secondly, “Bomba Chevere”, a blend of Puerto Rican bomba and Colombian cumbia. The big Afro-Cuban track of the album is “Descarga China”, which has two different mixes. One is a descarga funk mix with some heavyweight kit playing and smoking trumpet soloing, while the other is a more straight-ahead Latin jam with Javier’s upright bass playing underpinning the whole number in a very Cachao way. Big shouts to the whole band, which features some of the best musicians from the London Latin music scene of the last three decades. These cats are as good as you’ll get in Latin music from anywhere across the world.This London Latin music gem has been crying out for a vinyl release for over a decade. At last, it's here. Slap it on the turntable, drop the needle on track one, turn the volume up, press play and be ready to dance. Standing still is NOT an option! DJ Lubi (One Jazz / Totally Wired Radio)

Celebrating their 10th anniversary, piano trio Alter Ego presents their first-ever best-of LP featuring their signature ballads!
Alter Ego, a piano trio from the Setouchi region, has captivated listeners with their lyrical melodies.
This first-ever best-of LP features a carefully curated selection of the finest ballads they've crafted over the past decade.
This album was remastered at Alchemy Studio, a studio essential to Alter Ego's music.
The album features 11 tracks, including (2) "Meeting That One Friend," a tale of a special encounter; (3) "Where Will We Go?", a jazz waltz depicting the emotions felt at
a crossroads in life; (4) "The Wind Blows on Penelope," which depicts the flow of people connected to the coffee shop "Penelope," which is considered the origin of
pianist Hitoshi Ogata's career; and (10) "The End Opens Up New Possibilities," a song written at a time when parting with a loved one can also be a moment when a new
door opens. Music nurtured over time will gently reach your heart and leave a deep impression.

Selected by Yoshikazu Ogata & Keisuke Taniguchi

Embrace The Abandon is the new project by THE MON, the solo vision of Urlo, vocalist, bassist, and founding member of the Italian heavy-psych veterans Ufomammut.

Structured in two complementary chapters — Songs of Abandon (November 7th, 2025) and Songs of Embrace (March 6th, 2026) — the project tells a journey of duality: loss and surrender on one side, acceptance and rebirth on the other.
The first chapter, Songs of Abandon, is perhaps the most intimate and vulnerable work Urlo has ever created.
Born in a moment of solitude and personal darkness, the album originated from a radical exercise: writing one song a day, for nine consecutive days, using only acoustic guitar and voice.
A collection of stripped-down, emotionally raw ballads. Rooted in acoustic textures and intimate songwriting, these songs explore loss, vulnerability, and the quiet spaces left behind — a personal exorcism of what could have been but never was.
Later, these sketches were shaped into fully realized tracks, with lyrics and subtle layers of sound — not to overwhelm, but to underline the fragile, raw atmosphere that pervades them. The result is a stripped-down, emotionally charged collection that embodies an inner search: the power of music as a tool to face abandonment, to dig into oneself, and ultimately to glimpse the possibility of an embrace.
With Embrace The Abandon, THE MON reaffirms itself as one of the most personal and uncompromising projects.
It is a body of work that fuses vulnerability and strength, speaking directly to the listener with sincerity, leading them through shadow towards light.
An intimate yet powerful sound experience, intertwining the minimalism of acoustic folk with the dark, visionary tension that has always defined Urlo’s artistic path.

Since first bursting onto the scene with her classic Number One hit singles 'Can The Can' and 'Devil Gate Drive', Suzi Quatro has sold over 50 million records worldwide and is recognized as a true rock 'n' roll legend and feminist icon. Over her 50-year career, Suzi has inspired countless artists from Joan Jett to Debbie Harry and KT Tunstall. She is also known for her role as theLeather Tuscadero in 'Happy Days'. 'A's & B's' is a collection putting the spotlight on her classic '70s singles. Side one is packed with hits including 'The Wild One', 'Devil Gate Drive', '48 Crash' and 'Can The Can', whilst side two showcases the Quatro-penned B-sides which accompanied those iconic rock singles Available on vinyl for the first time, the compilation is remastered from the original master tapes by Phil Kinrade at AIR Mastering, and is pressed on 140g red glitter vinyl with a top-loading sleeve.

“A good song can survive and shine in different ways in the hands of different musicians,” says Emmylou Harris. “It can have different meanings at different times in your life. A good song can travel with you anywhere.” That philosophy has guided her fifty-year career in country music, during which she has covered countless songs across countless genres and put her own indelible stamp on each one. More specifically, it’s the philosophy that animates both Spyboy, her touring band in the late 1990s, and Spyboy, the 1998 live album that demonstrates how these musicians made her songs shine. Sequencing old songs alongside new ones, the album tests the tensile strength of each one, pushing them into wilder and more psychedelic territory while remaining grounded in earthy country music. It’s completely unique in her catalog, a crucial document of an important chapter in her career, and it’s finally getting reissued after years of being unavailable. “It’s such a special record,” she says. “Well, they all are, but this one is really, really special. That was such a fantastic band and such an amazing time.”

Spyboy grew out of Wrecking Ball, Harris’ groundbreaking 1995 collaboration with producer Daniel Lanois. In 1996 and 1997 together with Buddy Miller, Brady Blade and Daryl Johnson, The band, also named Spyboy, toured America and Europe together, never playing a song the same way twice. Buddy Miller brought along his recording gear and recorded nearly every show on the tour. When their time on the road ended, Miller and Harris sat down together and they culled through hundreds of tracks to choose the ones that best represented the Spyboy ethos of endless possibility. They whittled the original release down to 14 tracks and in 1998 Eminent Records released Spyboy on CD.

First Word Records are proud to present the sophomore solo EP from Victoria Port.

'Barefoot In The Garden' is a 5-track selection merging classic soul with contemporary sounds.

Put together from sessions recorded at the world famous Abbey Road Studios in London, and Victoria's home studio Candle Shop, this project exemplifies her talents as a singer-songwriter, developing upon the building blocks of her debut EP 'Did it Again' and Victoria's work as one half of electronic-soul duo, Anushka (BBE / Tru Thoughts / Brownswood).

On this EP, Victoria is accompanied by a wealth of talented artists in their own right, including frequent collaborators Hemai and JNR Williams, the highly-acclaimed drummer Moses Boyd, and vocalists such as Lea Lea, to name just a few.

The sonic tapestry stitched together on this EP epitomises the quality of British soul music of modern times; a vintage symphonic feel approach with modern-day production techniques, encompassing the Ronson-era of the late great Amy Winehouse, to the pack leaders of nowadays such as SAULT and Jungle. It's a logical progression considering Victoria's lifelong influences of US luminaries like Minnie Riperton, Gladys Knight, Nina Simone and Dionne Warwick.

Her fanbase includes Gilles Peterson (BBC 6 Music / Worldwide FM) who has tipped her as "an exciting emerging new artist whose sound fits alongside current successful acts like Cleo Sol, Lynda Dawn and Yazmin Lacey."


Victoria's previous EP had support from a wide range of tastemakers, including Cerys Matthews, Huey Morgan, Somewhere Soul, Mo Ayoub (Selector Radio), Ronnie Herel (Mi-Soul Radio's "One to Watch"), Tony Minvielle (Jazz FM) and across platforms like Rinse FM, NTS, Soho Radio and Global Soul, whilst her work with Anushka also received airplay from Annie Mac, Jamz Supernova, Huw Stephens and BBC Radio 1.

Victoria says "this EP comes from a place of nostalgia. It's kind of reflective of parts of life up to this moment, culminating in 'Barefoot in the Garden'. I guess it's me starting to understand the things that are truly important to me. How I want to love and be loved, the way I want to spend my time, and just me starting to filter out a lot of the noise. Sonically it's been such a dream to explore elements of old soul and jazz with so many incredible musicians, and to put our own unique spin on the genre."

Already a seasoned live perfomer, additionally to various live appearances solo past & forthcoming including We Out Here, Jazz Cafe, Koko and the London Jazz Festival, Victoria Port is set to be one of the leading lights in the world of British soul music. This EP provides some solid examples as to why.

'Barefoot In The Garden' is due to be released on vinyl and digital, November 7th 2025.

The Band Rotosphere has become a cornerstone of the Blues Festival Baden (Switzerland). Since 2005, led by guitarist and bandleader Nic Niedermann, they"ve been lighting up the festival"s legendary Late Night Jam Sessions. Over the years, they"ve shared the stage with blues icons such as Magic Slim, Susan Tedeschi, Coco Montoya, Justina Lee Brown and Chicago"s own blues harpist, Matthew Skoller. A truly magical moment unfolded in 2022 when Mark Slate took to the stage. The charismatic blues and soul singer captivated the audience from the first note with his powerful voice. Having spent years on the road with the "Joe Cocker Tribute Show", Slate embodies the raw and gritty essence of the blues. Now, performing alongside Rotosphere, they deliver original tracks brimming with energy, passion, and musical fire - an unforgettable experience for every listener!

Grim days call for fierce love. And Mavis Staples, one of the most enduring figures in American music, is laying it down. Sad And Beautiful World is the latest solo album from a national treasure and multigenerational talent. Produced by Brad Cook, Sad And Beautiful World spans seven decades of the American songbook - a range nearly as vast as Mavis" career - and includes reinventions of timeless songs by Tom Waits, Sparklehorse, Gillian Welch, Frank Ocean and more. Cook imagined an album in the tradition of Nitty Gritty Dirt Band"s Will the Circle Be Unbroken, a group of artists coming together to celebrate community - in this case, one centered on Mavis. Collaborators include Buddy Guy, Bonnie Raitt, Jeff Tweedy, Derek Trucks, Katie Crutchfield, MJ Lenderman, and Justin Vernon. Inducted into several halls of fame (Blues, Rock, and Gospel), a Kennedy Center Honoree, a winner of multiple GRAMMYs (including a Lifetime Achievement Award), Mavis is musical history. She"s collaborated with nearly every major figure of her era(s), from Bob Dylan to Prince, Aretha Franklin, and Willie Nelson - not to mention countless stars from subsequent generations.

Grim days call for fierce love. And Mavis Staples, one of the most enduring figures in American music, is laying it down. Sad And Beautiful World is the latest solo album from a national treasure and multigenerational talent. Produced by Brad Cook, Sad And Beautiful World spans seven decades of the American songbook - a range nearly as vast as Mavis" career - and includes reinventions of timeless songs by Tom Waits, Sparklehorse, Gillian Welch, Frank Ocean and more. Cook imagined an album in the tradition of Nitty Gritty Dirt Band"s Will the Circle Be Unbroken, a group of artists coming together to celebrate community - in this case, one centered on Mavis. Collaborators include Buddy Guy, Bonnie Raitt, Jeff Tweedy, Derek Trucks, Katie Crutchfield, MJ Lenderman, and Justin Vernon. Inducted into several halls of fame (Blues, Rock, and Gospel), a Kennedy Center Honoree, a winner of multiple GRAMMYs (including a Lifetime Achievement Award), Mavis is musical history. She"s collaborated with nearly every major figure of her era(s), from Bob Dylan to Prince, Aretha Franklin, and Willie Nelson - not to mention countless stars from subsequent generations.

Segawa Hiroshi (vocals, guitar) / Ishima Hideki (guitar) / Harada Hiroomi (drums) / Nomura Mitsuro (drums) / Kozuki Jun (drums) / Yamauchi Tetsu (bass) / Ohno Katsuo (keyboards)

Segawa Hiroshi's solo album, pursuing country rock and southern rock in Japanese
A treasure of Japanese rock, bringing together members of Flower Travellin' Band, Samurai, and PYG
After the GS boom subsided and New Rock was in full swing, Segawa Hiroshi was one of the few bands pursuing country rock and southern rock in Japanese, while most bands were aiming for British rock.
The album "Pierrot," one of the culminations of this endeavor, was produced with the help of a lineup of representative Japanese new rock artists, including Ishihama Hideki and Kozuki Jun from
Flower Travellin' Band, Yamauchi Tetsu and Harada Yushin from Samurai, and Ohno Katsuo from PYG.
The album has been reissued with the additional recording of the single "The White Room Where You Were," released the year after "Pierrot," and remastered by Kubota Makoto.

Commentary: Ogawa Shinichi
Remastering: Kubota Makoto

Although they emerged from Melbourne bayside outer suburbs onto the local live scene with their fresh and spirited indie-rock update of the garage-beat sounds of The Easybeats, Kinks and early Beatles only a year or so ago, Gnome actually started out as a bedroom solo project for teenaged singer/songwriter/ guitarist Jay Millar a few years back. Jay, playing everything himself, started recording and releasing a steady succession of material - quite a few albums' worth - on his own Goblin Records label via Bandcamp. Realizing he needed a band to start playing out, Jay approached some like minded players from Frankston's rehearsal hub Singing Bird, and with Jay on lead vocals and lead guitar, Ned Capp on guitar, Olly Katsianis on bass, and Ethan Robins on drums, Gnome became a band.

Early in 2025, the last solo Jay recordings released under the Gnome name caused something of an international underground sensation when the Bandcamp only I Like It EP - four songs of kranked up Kinks-style mono riffage - was posted by a Spanish garage-punk YouTube page and quickly clocked up over 50,000 views.



At the same time, the band quickly began gaining attention on the thriving Frankston scene and around Melbourne. They started breaking out, sharing bills with the likes of Drunk Mums, Skegss, Split System, The Prize, The Unknowns, Cosmic Psychos, Hockey Dad, Guitar Wolf, The 5.6.7.8's, The Breadmakers, Loose Lips, fellow Frankstoners/Singing Bird alumni The Belair Lip Bombs, and, on a quick trip to Sydney, Cammy Cautious & The Wrestlers.

And now, finally, we have The Gnomes' debut album. Twelve killer tracks that combine the best of the '60s with the best of today. Twelve killer tracks that show off assertive and accomplished songwriting, singing and playing and an explosive and authentic swinging group sound. Twelve killers slices of raw rock'n'roll running the gamut from the savage Rhythm & Blues of "Play With You" and “Better With You” to the vibrant beat pop of "I'll Be There" and "I'm Not The One", with forays into the heavy reverb psych of "Stung", the Cavern/Star Club stylings of "Flippin' Stomp" and the first flyte jangle of "Time Will Tell" along the way. There’s more of course, including a new version of that Kinks-style kranker “I Like It” for good measure.

Frankston’s Fab Four are taking their sound to the world. Join them for the ride!

Skylax Records proudly presents the first release in our brand-new archival reissue project: the SKYLAX COLLECTOR'S SERIES. This collection is dedicated to unearthing rare and forgotten underground gems, pressed back to vinyl with love and respect for the original sound. We kick off this essential series with a deep cut from one of the UK’s most respected techno pioneers: AUBREY – WAREHOUSE, originally released in 1997 on his cult imprint Textures (catalogue: TEX2). This classic slab of wax features five tracks that masterfully blend deep house grooves with raw UK techno energy: A1. Warehouse / A2. Rift Zone / B1. Shot / B2. Insult My Friend / B3. Space Lead. Aubrey, real name Allen Saei, started his journey into music in 1990 under the alias Panic, with his first release Voices Of Energy on Sheffield’s Ozone Recordings, later licensed by Buzz in Belgium. That same year, he launched his first label Solid Groove Records, which went on to drop over 30 vinyl releases in 13 years, with tracks licensed and supported by heavyweights such as Derrick May, Carl Cox, Adam X, Pete Tong and Terry Francis. Aubrey also ran four additional underground labels: Textures, Dark, DOT and Cheap Knob Gags. A true lifer, he became a hip hop DJ at age 13, discovered acid house at 16 after hearing Mr. Fingers’ Washing Machine, and released his first vinyl at 17. By 18, he had a residency at Central Park in Portsmouth (a key spot that hosted the likes of Luke Slater, Carl Cox, Frankie Bones, Joey Beltram, Grooverider…), and quickly became a fixture in the UK rave circuit, playing regularly at London institutions such as The Astoria, Turnmills, The Gardening Club, The Pirate Club, and legendary events like Energy and Raindance. He also worked behind the counter at import store Razzles, one of the most important dance music shops in the South of England, before joining Luke Slater at Jelly Jam Records. In 1991, he created Solid Groove to push his unique production vision—a journey that continues today through releases on legendary techno labels such as Metroplex and Ostgut Ton. Still fully active and devoted to music—DJing, mastering, remixing, and working in record stores—Aubrey remains a cornerstone of the underground. This reissue has been carefully remastered from the original tapes, pressed with the utmost attention to quality. A vital release for collectors, DJs, and all lovers of true UK techno and deep house. Strictly limited. No repress. Just music.

Undiluted - a highly anticipated collaborative Hip-Hop album from two of the underground’s most respected artists, Cymarshall Law and Ramson Badbonez, One Nation Exclusive.

As trans-Atlantic alchemists pulling from a shared dialectic that somehow encompassed both postmodern deconstructionist tendencies and a delightfully subversive sense of poptimism, it’s easy to see how David Cunningham and Peter Gordon immediately hit it off upon initially meeting each other back in the late-1970s at the height of their youthful transgressions. Having initially worked together on the second Flying Lizards’ LP fourth wall, with its ingenious fusion of dismantled rhythms and rearranged melodies juxtaposed against the slyly sultry singing of Snatch’s Patti Palladin— with Gordon adding a few sprinkles of mischievous sax in the mix— it’s no wonder the collaboration would lead to further musical adventures.

Which leads us directly to the genesis of The Yellow Box. Embarking on a collaborative exercise in the structural repurposing of music as untethered puzzle pieces in need of rearrangement with no predetermined outcomes, the duo gave birth to a project that would see them move through both time and recording studios across Europe, taking nearly two years from 1981-1983 to complete. Enlisting the great Anton Fier on drums from The Feelies/Lounge Lizards nexus and John Greaves on bass from Henry Cow/Soft Heap lore to round out their dueling creative counterparts, the album would be something of a lost treasure until its eventual release on Cunningham’s Piano imprint in 1996.

Cinematic in scope, and filled with drifting drones, beautiful counter-melodies, eery minimalism, Kraftwerkian synthesizers, looped voices, skronky interludes, and other shifting undercurrents of sound, it was an album that utilized both a diverse array of expressive languages, as well as early sampling techniques and prepared instruments, well before most people were thinking in such expansive, integrated terms at the dawn of the 80’s. But such is life at the vanguard of new music. And one of the reasons that it likely sat on the shelf for so long before finally being released well over a decade later. Like a sparser, less groove-oriented version of My Life in the Bush of Ghosts, or a more radical take on the experimental work of Can’s Holger Czukay, The Yellow Box stands at the crossroads of time and technology, fusing multiple strands of musical thought and compositional techniques into a disjointed whole that somehow still comes off as a conceptually complete record.

Now, here it is again, over 40 years later, with perhaps even more historical resonance than it had before, remade and remodeled just waiting to be rediscovered again.

Waxwork Records is thrilled to announce the exclusive release of the WEAPONS Original Motion Picture Soundtrack, in proud collaboration with New Line Cinema and WaterTower Music. Scored by Ryan Holladay, Hays Holladay, and director Zach Cregger, this haunting and immersive album accompanies the highly anticipated mystery-horror film WEAPONS.

Written, produced, and directed by Zach Cregger (Barbarian), WEAPONS tells the chilling story of seventeen children from the same classroom who vanish into the night—each fleeing their homes at 2:17 AM, drawn by an unseen force toward an unknown destination. Their simultaneous disappearance baffles authorities and sets the stage for one of the year’s most unsettling cinematic experiences.

The WEAPONS soundtrack captures the eerie atmosphere and emotional intensity of the film with original compositions from the Holladay brothers and Cregger. From minimal ambient textures to deeply unsettling orchestral crescendos, the score is both gripping and unforgettable.

Waxwork Records is thrilled to announce the exclusive release of the WEAPONS Original Motion Picture Soundtrack, in proud collaboration with New Line Cinema and WaterTower Music. Scored by Ryan Holladay, Hays Holladay, and director Zach Cregger, this haunting and immersive album accompanies the highly anticipated mystery-horror film WEAPONS.

Written, produced, and directed by Zach Cregger (Barbarian), WEAPONS tells the chilling story of seventeen children from the same classroom who vanish into the night—each fleeing their homes at 2:17 AM, drawn by an unseen force toward an unknown destination. Their simultaneous disappearance baffles authorities and sets the stage for one of the year’s most unsettling cinematic experiences.

The WEAPONS soundtrack captures the eerie atmosphere and emotional intensity of the film with original compositions from the Holladay brothers and Cregger. From minimal ambient textures to deeply unsettling orchestral crescendos, the score is both gripping and unforgettable.

Unchained is the long-standing guitar-based project of Nate Davis, originally from Providence, RI, and based in France for over a decade. In his two most recent LPs—Gabbeh (2024, A Colourful Storm) and Frontalier (2025, Stern Records)—Davis strives to describe a new path for outsider jazz instrumentalism that remains committed to harmonic and rhythmic form while placing greater emphasis on sonic texture through experimental production techniques.

Release Description:

Unchained—a name which at the project's inception or on earlier recordings spoke perhaps to the ecstatic saturation of high gain guitar—has over the past three albums (N.D. Visitor, Pic, and Gabbeh) come to represent more and more an acknowledgement of and sensitive remove from a crashing world. An excuse of oneself from trend towards a siloed artistic development.

On Frontalier, Nate Davis crosses further into this patient personal lexicon of guitar composition, presenting a new set of richly developed songs and leaps in arrangement which may very well shock Unchained fans the world over. The sympathetic geometric guitar themes of the earlier second-period Unchained style are almost entirely absent, making way for a fully realized presentation of the jazz, MPB, and fusion influence present to varying degrees on the previous three albums. Davis's keen sense of melody and songcraft have never been stronger, here landing on music which is at moments evocative of Wes Montgomery, Allan Holdsworth, Jobim, or the jazzier impulses of Lô Borges. Distinct in Davis's music, however, is what these references might belie: an innate tending towards repetition as an affective tool—one which has less to do with the aesthetics of the scene from which the project emerged than it does with devotional prayer. In this way it feels as if Unchained has always been music for living. What was once a maximalist expression of youth has matured into the sound of living with and in the world and an empathic transmuting of all the joy, disappointment, and ambivalence that comes with it. Songs that feel like the sort of thinking one does looking out the window on a long train ride, or the routinism of internal and external life and the breaking out of it. As much as it will be recognized by the fandom as a significant step forward, Frontalier serves also as a perfect gateway for new listeners to the singular music of Unchained.

Rare is the soundtrack that as time passes overshadows the film of which it was a part, but that’s what has happened in the years since the 1992 release of The Last of the Mohicans. Not that the film is any slouch; Michael Mann’s epic retelling of James Fenimore Cooper’s frontier tale is a cable TV fixture and more evidence that Daniel Day-Lewis is one of the great actors of our time. But the film’s music has emerged as easily one of the most popular scores of ‘90s cinema, with the “Main Title” in particular having become a part of our popular culture the same way as, say, the signature themes from Titanic, Star Wars, and other blockbusters. What makes it even more extraordinary is that the movie’s score emerged from postproduction turmoil as the work of two different composers, Trevor Jones and Randy Edelman. Jones’ work is more of the traditional orchestral soundtrack ilk, Edelman’s has a more contemporary feel, but somehow it all fits, with the closing credit song “I Will Find You” by Clannad an added bonus. Long a bestselling soundtrack CD, we at Real Gone Music are releasing this revered soundtrack on double LP peach vinyl, inside a gatefold festooned with production stills. Guaranteed to get your blood stirring!

Sanguis is the alias of Berlin-based producer Ludwig Wandinger, a fixture in the city's experimental scene.
On his debut album Wounding dark ambient textures and solo piano improvisations let the listener's attention slip in and out of focus creating a liminal state of dreaming, feeling and drifting through inner worlds and thoughts.
Wandinger tries to capture fleeting moments - all tracks are unedited first takes, some recorded only with his phone in various places, from a friend's flat in Neukölln to his family home in rural Bavaria. Background noises become a part of the music and create a tangible sense of place, urging the listener to keep an ear out for one's own surroundings.
Though firmly rooted in the ambient genre, the album is not just about finding comfort. It's an acknowledgement of the ambiguity of our world where menace and beauty coexist, a dichotomy most apparent in nature itself - a constant source of inspiration for Wandinger.
Wounding is about walking alone on damp foliage at night and being handed a blanket by a loved one at the earliest daylight.

Sometimes there are discoveries that hit like thunderbolts! Matt Pascale & The Stomps are undoubtedly one of them-and a major one at that. Everything here is simply perfect. Musically, the backbone of this album remains blues, but rock, funk, soul, and even hip-hop are never far off. The compositions flow like a string of potential hits. It only takes listening to this album once or twice for certain melodies to lodge themselves firmly in your brain. As for the performance, it"s downright incredible. Matt Pascale has a raspy voice with a "more Italian you couldn"t get" vibe, his guitar playing is a sheer marvel of precision and feel, and The Stomps are a rhythmic and groovy powerhouse capable of waking the dead. Un-be-lie-va-ble!

To mark the occasion, Léonard Lasry offers a deeply personal rendition of "Aimer", one of the iconic songs from Sylvie Vartan's repertoire. This intimate cover serves as a tribute to the legendary singer who inspired five songs on his 2021 album "Merci pour le regard", and whose body of work he considers to be one of the richest and most fascinating in French pop music. The artwork was created by renowned illustrator Jeanne Detallante.

Due to demand (and that we zero copies of their vinyl studio album left, and only a few of their live vinyl album), we've compiled all the tracks from both (and more - see below), we're reissuing them both on a 2xCD with a 24-page booklet. Before Suicide had really made it to the West Coast, Grey Factor were working in a similar realm - early post-punk, a little before punk (as such) and proto-industrial music. Here's what the band has to say: The future is tricky - and while we may have been left behind, this is our attempt to catch up with it. We offer a double CD capturing everything we've ever recorded. The Future Arrives Without You includes the previously released vinyl LPs - 1979-1980 A.D. Complete Studio Recordings and A Peak In The Signal: Live 1979-1980_plus a few surprises, including our first new studio tracks in 45 years. Both songs are covers, Wire's 12XU and Campag Velocet's Sauntry Sly Chic, and nine more lost studio tracks. 12XU was a jolt of pure adrenaline_two minutes of perfection from one of the era's best bands, a huge influence on us. Sauntry Sly Chic, from a group few remember but we never forgot, had one of the most infectious grooves we had ever heard. We also loved their lead singer's live getup: a cycling helmet and fencing gear. Perfection. These tracks inspired us to head back into the studio after four decades away. On A Peak In The Signal, we've added nine unreleased pieces we call the In-Betweens. Created out of necessity in 1979-1980, pre-recorded and played between our live performances, these sonic interludes filled the dead space while we reprogrammed our temperamental analogue synths between songs. Absurd, experimental, audience favourites.

Fin" is the fourth album by Spanish band Exnovios, a group that has been described as a blend of Spacemen 3 influences and the best of Spanish '60s pop. The new dozen songs that make up their fourth LP happily shifts away a bit from to the usual unbeatable formula of this Pamplona-based quartet (garage reverbcore as if sung by Spanish legends Juan y Junior) and add new and fascinating layers-at once fresh yet entirely logical in the evolution of such a unique band within the local scene. Exnovios' new collection of songs wasn't created in a rehearsal space or recorded in a single week in the studio. Rather, it was composed and rehearsed slowly in bedrooms and living rooms-songs that were later brought into the studio with the idea of finishing building them there. Over the course of nearly a year, the band approached each song one by one, in a handcrafted manner, alongside their trusted ally, producer Guillermo Mutiloa. The result is a treasure trove of songs, perhaps more psych-folk than ever, as acoustic pieces abound-full of exquisite melodies without abandoning the consciousness-expanding journeys that have made Exnovios a cult favorite: from the instant classic 'Nubes' (with its very Byrds-like harmonies and gorgeous twelve-string acoustic guitar), to the delightful Big Star-style fiction of 'El cine se queda en silencio', or even the fabulous cover of Stephin Merritt's 'Tú tú tú tú.' These are often drumless tracks, perhaps with some light percussion, always featuring detailed and exquisite arrangements of guitar, electronics, percussion, and even touches of strings. And despite the reduced presence of drums (which, along with the laid-back recording approach, makes this almost Exnovios' "White Album"), fans of the band's legendary fuzz-guitar reverbcore sound won't be disappointed: there's the psychedelic 'Viaje Alucinante', full of their classic riffs; their brutal cover of Psychic TV's 'Godstar' (drenched in echo and eccentric vocal effects); and the perfectly crafted 'Naves Misteriosas', which pulls off the impossible feat of sounding like 'Cerca de las Estrellas'-era Los Pekenikes in the verses, Phil Spector in the chorus, and the Ramones in the post-chorus. And there's much more: percussion reminiscent of the most 'baggy' Primal Scream on the brilliant 'Aún no es tarde'; love lyrics wrapped in an exquisite drum machine soaked in reverb and Suicide-style Farfisa on 'Ha venido a quedarse'; the beautiful two-chord electronic Christmas carol 'Ya es Navidad'; and that lysergic waltz that sings of the peace brought by karmic revenge, carried along by waves of fuzz and delay, titled 'El día del juicio final.' "Fin" reveals more sides and nuances of Exnovios than ever before-a festival of eclectic styles that all remain true to the musical vision that has defined them over the past decade, with their melodic powers at the peak of their talent.

Based in St Leonards-on-Sea, East Sussex, Dark Circles Recordings has

rediscovered and is reissuing an album originally recorded and released in 2008 by

Dog Soup, a then London-based quartet that played a handful of gigs and recorded

just one exemplary album before, seemingly, disappearing. Fragments, that album, is

a crucial chapter in the British jazz story that can now be told again.

The brainchild of trumpeter and composer Robbie Robson, Dog Soup was briefly part

of the Loop Collective, a group of musicians founded in London in 2005. Dog Soup

cut one mesmerising album of rhythmic shapes and melodic colours that still

sounds fresh, exciting and dynamic 17 years later. An intoxicating mix of composed

and freely improvised playing, Fragments keeps the listener guessing just where the

music is coming from.

Released in 2008, Fragments just preceded the revitalised British jazz scene and slipped

under the radar of even the most ardent aficionados, becoming a lost classic—until Dark

Circles Recordings recognised its brilliance 17 years later and persuaded Robson to reissue

it.


'...prefigures the post-rock into jazz trajectory which Chicago's International Anthem label would later inscribe so joyfully'
* * * * Mojo

'...original, free and dramatic...'

The Guardian

Limitierte Auflage von 1000 Deluxe-Doppel-LPs mit 11 unveröffentlichten Titeln und Versionen auf "Glacial Blue" Vinyl. "Life in Slow Motion" stieg sowohl in Großbritannien als auch in Irland direkt auf Platz 1 ein und wurde zu einem kommerziellen Erfolg und erhielt begeisterte Kritiken. Aber noch wichtiger war, dass Gray damit wieder Freude am Musikmachen fand - am Schaffen von etwas Bleibendem. Jetzt, zwei Jahrzehnte später, wird "Life in Slow Motion" mit seiner ersten Veröffentlichung auf Vinyl gefeiert, zum 20-jährigen Jubiläum des Albums. Die Neuauflage wird in drei Editionen erhältlich sein: als Standard-Schwarzvinyl, als Farbvinyl und als Deluxe-Farbdoppelvinyl mit unveröffentlichten Demos und zwei bisher unbekannten Tracks aus den Original-Sessions. Diese Neuauflage von "Life in Slow Motion" bietet die Gelegenheit, ein wegweisendes Album wiederzuentdecken - nicht nur ein Produkt seiner Zeit, sondern ein Werk, das noch immer tief nachhallt. Weitläufig, nachdenklich und voller stiller Überzeugung.

"Released in 1968, “Il medico della mutua” (The Doctor of the Mutual Insurance) is one of the sharpest and most bittersweet comedies in Italian cinema. The film stars Alberto Sordi as Dr. Guido Tersilli, an unscrupulous Roman physician who climbs the professional ladder by exploiting the public healthcare system with ruthless irony. Directed by Luigi Zampa, the film offers a lucid and sarcastic portrait of Italy during the economic boom — a country racing toward modernity, yet flaunting all its moral contradictions.
Giving musical voice to this social satire is Piero Piccioni, one of the undisputed masters of Italian film music. His score for “Il medico della mutua” perfectly captures his elegant and sophisticated style: smooth jazz, orchestral groove, and an ironic touch that mirrors the double nature of the protagonist — respectable on the surface, opportunistic at heart."

"Released in 1994, “Dellamorte Dellamore” (known internationally as Cemetery Man) is one of the most fascinating and unconventional films of 1990s Italian cinema. Directed by Michele Soavi and based on the novel by Tiziano Sclavi (the creator of Dylan Dog), the film blends horror, dark comedy, and surreal poetry into a story suspended between life and death, love and madness.
The protagonist is Rupert Everett, as Francesco Dellamorte, the caretaker of a cemetery where the dead return to life. Beside him, a mysterious woman (played by Anna Falchi) embodies the obsessive nature of love and the cyclical pattern of desire and loss. Soavi crafts a visionary, melancholic, and ironic film in which death becomes a metaphor for existence itself.
Giving voice to this suspended universe is Manuel De Sica, who composed one of his most evocative and underrated scores. The soundtrack for Dellamorte Dellamore is an alluring blend of gothic romanticism, mystery, and lyrical melancholy, perfectly attuned to the film’s tone."

"Straight up, no one is having more fun than me when we"re up there!" beams DRAIN frontman Sammy Ciaramitaro, whose face is perpetually glued in a grin. For anyone that"s seen the Santa Cruz hardcore firebrands live, there"s no mistaking that fact. DRAIN isn"t just a good time as Sammy presides over the chaos of stage diving bodies and mic-grabbing frontline; it"s a party-and everyone is invited. (Dolphin shorts and boogie boards are optional but encouraged.) "The vibe of it is, enthusiastic, hectic," says the vocalist. "Five people deep singing and stagediving, then kids going berserk behind that. It"s a great vibe and I think people pick up on that." That, in a nutshell is DRAIN. The trio inject a serious dose of relatability-not to mention catchiness-into hardcore"s penchant for toughness and brutality on their new Epitaph album, ...IS YOUR FRIEND. Ciaramitaro"s desperate, snotty howl rides roughshod over thrash-leaning riffage as rhythms bounce in a big way. If you"re picturing the Pacific Ocean waves that rise and fall along the coastal town, occasionally violently so, you"re not far off.

Heavyweight groove from ERP — deep electro pressure with Microcentric on the flip, plus a killer Convextion remix. Pure machine soul for late-night heads.

DJ Feedbacks :


Pariah : amazing
Erol Alkan (Phantasy Sound) : Downloading Thanks!
Ben Sims : Now downloading... will check asap!
Luke Slater : Thanks!
Dave Clarke (white noise radio) : Seismic and well crafted, full support
Peverelist (Livity Sound) : Awesome, thanks!
Tensal (Tensal, Falling Ethicss) : great, Gerard always on point, thx
Call Super (Houndstooth) : thxxxx
Confidential Recipe (Rekids Special Projects) : great ep!
DJ Bone (FURTHER) : The Convextion remix is fire.
Monty Luke (Rekids / Black Catalogue) : solid ep
GiGi FM : <3
Jon Hester (Rekids, EDEC, Les Enfants Terribles, L.A.G.) : Fantastic EP across the board, amazing stuff!!
Jako Jako (BPitch Control, Tresor) : Schön!
Dan Beaumont (Chapter 10 / NTS) : Brilliant! love the Convextion mix
Satoshi Tomiie (Abstract Architecture) : Next level production and quality. Hats off
MoMa Ready (RAVE UNIT, HAUS of ALTR, Method 808) : great remix
Josh Wink (Ovum) : Usually good and sensual Electro from E.R.P.
Carista : love the remix of convextion
DVS1 : Thanks!
Inland : Ace! the remix is so lush! Thanks
Laurent Garnier : Ohhh whaouuuu - THIS IS SUPERB Full support
Radio Slave (Rekids) : I'm sold... This is great and I really love all the tracks.
Marcel Dettmann : thx
2562 / A Made Up Sound (Delsin, Clone) : The Convextion version is fire! Thanks :)
Bake (All Caps/Rinse FM) : love! <3
Interstellar Funk (Rush Hour) : Sounds great! Thank you
Efdemin (Dial) : Insanely good ep from the master!
Darko Esser / Tripeo (Balans / Clone) : Always good in my book, fantastic record!
Bailey Ibbs (Metafloor Records / Habits / Dansu Discs) : Make Electro Great Again!!
Nathan Jonson (Hrdvision) : rad!!!!
Uncertain (RSPX, WRKTRX, Suara) : convextion remix for me
Dj Deep (Deeply Rooted) : super nice release!
ROD / Benny Rodrigues : !!!!!
Surgeon (Dynamic Tension Records) : Great work. Love all tracks. Will play Convexion remix in my DJ sets for sure.
Steffi (Dolly) : simply grea!!!!!!
Kr!z (Token Records) : absolutely fantastic, as always
Phase Fatale (Ostgut Ton, BITE, Hospital Productions, Jealous God) : awesome!
Theo Nasa (Rekids) : WICKED!!!
Kosh (Syncrophone) : Lovely release
Subradeon (Subradeon Records) : interesting stuff! thanks for sending. Convextion rmx is my fav!
Gramrcy (Peach Discs/FTD) : Convextion remix is sick
Stephanie Sykes (Vent) : All tracks are sounding Super nice!!! TY!!! especially feeling Four Alone, so beautifully nostalgic. Cant wait to play!
Tal Fussman (Survival Tactics / Innervisions / Cod3QR / Drumpoet / Rekids) : oh yes
Richie Hawtin (M_Nus) : downloaded for r hawtin
Alan Oldham (DJ T-1000) : Super high quality electro, but the Convextion remix is the one I'm more likely to play out. Will support!
Ben UFO (Hessle Audio / Rinse FM) : convextion remix!
Truncate : Dope cuts thanks
Jonas Kopp : Excellent stuff, but this more of the pre-existent material.
The Advent : amazing stuff, digging all the tracks.. 2 - E.R.P - Microsentric my Fav..
Ste Roberts : Absolutely out of order! Anything Gerard touches turns to gold. 10/10
Joris Voorn (Spectrum) : Downloaded, thanx.
Roberto / R.M.K / Fossil Archive (Fossil Archive) : Love this!
Raffaele Attanasio (Axis) : nicee1!!!
DJ Assassin (Recode Records / Cross Section / Connaisseur) : wicked

Das Cover von ,Liquorice", dem dritten Album der australischen Indie-Pop-Künstlerin Hatchie, zeigt ein Nahporträt von Harriette Pilbeam, die lächelt, wobei ihr verschmierter roter Lippenstift auf die glorreiche Folge eines Kusses hindeutet. Das Bild wurde während eines spontanen Fotoshootings im Hinterhof mit einer einfachen Digitalkamera aufgenommen und fängt eine Erinnerung ein, die etwas unvollkommen ist und von Sehnsucht, Begierde und Bedauern geprägt ist Das Bild wurde während eines spontanen Fotoshootings im Hinterhof mit einer kleinen Digitalkamera aufgenommen und verkörpert ein Album, das rau und voller Freude ist und sich mit Themen wie Sehnsucht, Begierde und Reue befasst. Pilbeam begann ernsthaft mit dem Schreiben von ,Liquorice", während sie von 2022 bis 2023 in Brisbane lebte, und später in einem gemeinsamen Haus mit Agius in Melbourne, wo sie die Demos schließlich Mitte 2024 fertigstellte. Als Musikerin, die ihre Einflüsse bisher offen zur Schau gestellt hat, bemühte sich Pilbeam, von Grund auf neu zu schreiben, ohne bestimmte musikalische Einflüsse im Hinterkopf zu haben. Pilbeam begann ernsthaft mit dem Schreiben von ,Liquorice", während sie von 2022 bis 2023 in Brisbane lebte, und später in einem gemeinsamen Haus mit Agius in Melbourne, wo sie die Demos schließlich , und stellte die Demos schließlich Mitte 2024 fertig. Als Musikerin, die ihre Einflüsse bisher offen zur Schau gestellt hatte, bemühte sich Pilbeam, ganz von vorne anzufangen, ohne bestimmte musikalische Einflüsse im Hinterkopf zu haben, und ließ den Songs wochenlang Zeit zum Atmen, anstatt Ideen zu überstürzen. Sie fühlte sich von der melodischen Einfachheit ihrer frühen Songs angezogen und akzeptierte ihre musikalischen Unsicherheiten: ,Ich wollte meine Grenzen als Stärken betrachten, die meinen Stil prägen." Nachdem sie mit den Produzenten Jorge Elbrecht (Caroline Polachek, Japanese Breakfast, Sky Ferreira) und Dan Nigro (Olivia Rodrigo, Chappell Roan) an ,Giving the World Away" gearbeitet hatte, wollte Pilbeam ,Liquorice" mit einem einzigen Kollaborateur fertigstellen, idealerweise einem nicht-männlichen Produzenten, der auch sein eigenes Musikprojekt vorantreibt. Im September 2024 kehrten Pilbeam und Agius nach Los Angeles zurück, um mit Melina Duterte zusammenzuarbeiten, die unter dem Namen Jay Som Indie-Rock aufnimmt und an einer Reihe von Projekten mitgewirkt hat, darunter das mit einem Grammy ausgezeichnete Album ,The Record" von boygenius. ,Mein letztes Album ist sehr düster und introspektiv geworden, und das ist zwar ein Teil von mir, aber es gab noch eine ganz andere Seite, die ich nicht zum Ausdruck gebracht habe", sagt Pilbeam. ,Ich bin eine hoffnungslose Romantikerin und eine sehr alberne Person, manchmal sogar bis zum Äußersten." Die heute 32-jährige, verheiratete Pilbeam stellte fest, dass ,ewige Gefühle" der Sehnsucht und des Herzschmerzes schnell zurückkehrten, als sie über ihre Erfahrungen als jüngere Frau nachdachte. Gleichzeitig ließ sie ihre Vorliebe für tragische Liebesfilme einfließen, in denen die Figuren nicht unbedingt ein gemeinsames Happy End finden. Liquorice beschäftigt sich mit der Endlichkeit des Ewigen. Diese Songs fangen die überwältigenden, berauschenden und transformierenden Nebenwirkungen der Verliebtheit ein, auch wenn die gesamte Liebesgeschichte nur eine einzige magische Nacht dauert. Wie die reichhaltigen Aromen der gewundenen, titelgebenden Süßigkeit - süß, salzig und bitter in einem Bissen - bestätigt Liquorice, wie Sehnsucht und Besessenheit in der Selbstfindung einer jungen Frau miteinander verflochten sind.

Wiederveröffentlichung des Debutalbums 'Shadows Of The Dying Light' der schwedischen Cineastic Melodic Hard Rock Band Sarayasign. Mit Wurzeln im Gitarren Rock der späten 70er Jahren und dem Kinoerlebnis des 21. Jahrhunderts. Klingt wie Queensrÿche, Dio, Avantasia oder Allen/Lande. Jetzt erhältlich als Ltd. Col. 2LP!

Später, in den Tagen der funkelnden weißen Overalls, erreichte Elvis einen Höhepunkt, als die Musik ihn so tief bewegte, ihn in solche Höhen hob, dass es nur noch eines zu tun gab: "die umgekehrte Klaue". Wenn Musik dich dazu bringt, ist das ein wirklich großartiges Gefühl. "Die umgekehrte Klaue" ist das, worum es bei Deerhoof geht. Ihre jubelnde Musik zieht dich in den Moment hinein, und dort freust du dich. Auf dem transzendenten Album ,Friend Opportunity" überrascht die Musik immer wieder: Songs wie ,Perfect Me" haben drei oder vier Abschnitte mit atemberaubenden Offenbarungen des Erhabenen; ,Matchbook Seeks Maniac" zieht in der Mitte einen ,99 Luftballoons"-Breakdown-Move durch, rockt ein Brahms-Intervall im pop-narkotischen Refrain, und die Beach Boys und The Who sind überall im Mix zu hören - es ist eines der glorreichsten Dinge, die man je hören wird. Auf früheren Alben war eine der Hauptwaffen von Deerhoof der negative Raum - die atemberaubenden Stille zwischen den Beats und Akkorden schlugen härter zu als jedes Klirren und Klirren von Gitarren und Becken. Deerhoof waren wie Maler, die leere Stellen auf der Leinwand ließen, um ihre Pinselstriche hervorzuheben; jetzt neigen sie dazu, jeden Quadratzentimeter auszufüllen und laden uns ein, jeden brillanten Winkel zu genießen. Und Songs wie ,Perfect Me", ,Believe in E.S.P." und ,Choco Fight" sind weitaus groove-orientierter - und ja, auch sexier - als alles, was sie bisher gemacht haben. Das alles ist in Gegenüberstellungen integriert, die eigentlich irritierend sein müssten, aber einfach nur erstaunlich klingen. ,Believe E.S.P." beginnt mit Deerhoofs Interpretation von funkiger Slinkopation, aber der nächste Abschnitt klingt wie etwas aus Palestrina; wie so viele dieser Songs ist es eine malerische Fahrt, die von einer erstaunlichen Aussicht zur nächsten führt, von weiten, schimmernden Wüsten über neblige Schluchten bis hin zu atemberaubenden, schneebedeckten Berggipfeln. Wie Mike Watt einmal über seine Band The Minutemen sagte, schreiben Deerhoof keine Songs, sondern Flüsse. Woher kommt dieses Zeug? Da ist das hoch aufragende, ungerade getaktete Gitarrenriffarama von Chavez, der Heavy-Metal-Donner von Strawinsky, die beschädigten Schnörkel von Gastr del Sol, der Klang und Stomp von Led Zeppelin, Japans illustre Reihe atemberaubend innovativer, von Frauen dominierter Bands wie Ex-Girl und Melt Banana. Und jetzt gibt es diese Mensch-Maschine-Beatbox-Rhythmen, bei denen der titanische Schlagzeuger Greg Saunier die Technologie übertrifft wie ein John Henry mit zwei Holzstiften in den Händen anstelle eines Vorschlaghammers. Manchmal erinnern sie an The Who - wie ,Underture" aus Tommy oder die großartige Live-Version von ,A Quick One", eine Rockband, die die Arbeit eines Orchesters leistet, fesselnde Träumereien im Wechsel mit kraftvollen Ausbrüchen gewundener Melodien, lyrischen Machtspielen und Inverted Claws, die überwältigende Freude hervorrufen. Aber es gibt noch eine weitere wichtige Quelle: Seit mindestens 20 Jahren hat der Hip-Hop die ausgefallenste und experimentellste Musik hervorgebracht, die die Popmusik je gesehen hat. Warum kann Rockmusik nicht das Gleiche tun, auf ihre eigene Weise? Während ,Friend Opportunity" also tangential den Hip-Hop (und verschiedene Epochen des Rock in seiner abenteuerlichsten Form) zitiert, wendet es meist nur die gleiche Denkweise an - was wäre, wenn wir einfach unserer Fantasie freien Lauf lassen würden? ,Friend Opportunity" ist eine Meisterleistung der Neuerfindung, die nur von Künstlern kommen konnte, die bereit waren, alles zu überdenken. ,Es ist, als wäre man wieder ein Kind", sagte Saunier einmal zu Pitchfork, ,denn das ist es, was Kinder die ganze Zeit tun. Jeden Tag lernen sie neue Dinge, von denen sie nicht wussten, dass sie sie tun können." Mann, wenn man von Sonic Youth spricht - Deerhoofs Frühling ist ewig. - Michael Azerrad

Accomplished musical documenters Analog Africa shine a long-overdue spotlight on the trailblazers of Zimbabwe's Chigiyo sound with this lovingly curated new collection. Emerging from Kwekwe in the 1980s, the group fused reggae grooves with Shona chants, mbira-inspired guitars and bold brass to create a style uniquely their own. Anchored by legendary guitarist Gilbert Zvamaida, Zig-Zag's music carried spiritual weight and infectious energy with classics like 'Gomo Ramasare' and 'Mudzimu Mukuru' shaping the country's cultural landscape. This lovingly curated compilation revives their groundbreaking catalogue and celebrates their fearless creativity while introducing a new generation to one of Zimbabwe's most distinctive and visionary bands.