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Paul Hillery, Plattensammler, Archivar und DJ, präsentiert mit 'Folk Funk & Trippy Troubadours Volume Two' 17 brillant psychedelische und funky Juwelen, die er auf seiner unermüdlichen Suche nach musikalischen, Generationen und Genres umfassenden Schätzen entdeckt. Liebevoll handverlesene, verlorene Nuggets auf privat gepressten Obskuritäten, vergessenen Studiotapes oder tief in digitalen Ordnern versteckt, warten darauf, wieder gehört zu werden.

It is time to succumb to the sounds of the Magic Wand label once more and this eighth sonic spell is another one that will leave you happily helpless. It finds the Coyote lads step away from their fine work on Is It Balearic? to cook up two top edits. First up they offer 'Lonely' - a broody, steamy and shimmering tropical Balearic workout and then comes the organic and lazy drums of 'Western Revolution' with an iconic gravelly vocal from Gil Scott Heron. There are folk-tinged Americana sounds on 'Love Home' and laid-back disco licks on the seductive 'Luca' to make this a summer party essential.

Malian and French pair Siraba unveil their much-anticipated self-titled debut LP on Damian Lazarus’ Secret Teachings label, a 10-track odyssey fusing Mali’s rich musical traditions with cutting-edge electronic music.

Malian hunter Boubacar Samake and Damien Vandesande, one half of the French electronic band dOP, have won plenty of plaudits for the early singles taken from their debut album as duo Siraba. Those singles, spanning across the summer months, have found the pair bring the traditional sound of the Wassoulou - a river valley of West Africa - to the electronic world after 20 years of friendship. The music comes with an important underlying message of love and respect and results in spellbinding tracks that move heart, body and soul, finding a perfect home on Secret Teachings - a left-of-centre alternative label to Lazarus’ celebrated and often more club- focused Crosstown Rebels. With the arrival of the full album, the pair exhibit and showcase the emotional breadth and depth of their music, with detailed explorations of organic textures and native sounds merged with future-focused ideas and concepts.

The title track opens with an atmospheric mix of spoken words and spine-tingling chords that bring rich Afro flavours, while ‘Dounoiia’ is a languid groove made from hand drums and pixelated synth leads that cast a fine spell. The slow-blooming ‘Bani’ brings rich Malian blues and melancholic horns, while ‘Komafly’ is a rich mix of acoustic strings and broken beats that transports you to a hot and dusty landscape. A vital component of the sounds of the Wassoulou, the indigenous stringed instrument the Ngoni features again on the rousing ‘Nanse’ as spiritual vocals sung in Bambara rouse the soul.

‘Djandjo’ is another rich infusion of Malian culture with simmering electronics to make for something both ancient sounding yet futuristic, and the hypnotic ‘Ngana Fôlly’ with its rich bass is a song ‘dedicated to those who fight for the well-being of their families, for unity... a song for the people who also fight a great disease, between life and death’. The sublime ‘Toro’ is a wavy groove perfect for sundown - a deep and inviting sound rich in soulful vocals and dreamy melodies, while ‘Tolonawoulile’ is driven by the intense strumming of the Ngoni with busy hand claps and hurried drums and last of all ‘Fo Te Mokobana’ sinks into a heart-warming slow groove with sweeping strings and Malian percussion all overlaid with impassioned vocals.

A rich listening experience, Siraba’s debut album is an immersive journey and absorbing dive into the minds of two artists breaking new grounds while spotlighting native traditions and musical techniques spanning hundreds of years.

The last twelve months have been a whirlwind for Henry Counsell and Louis Curran, the men who make up Joy (Anonymous). Having established themselves during the Covid-19 era by playing impromptu meet-ups on London’s South Bank, they have graduated to bigger venues, travelled to far-flung locales and recorded their second album, Cult Classics, while maintaining the spontaneous energy and irrepressible joy that made their name. Their music revels in the euphoria of being alive and all the feelings, good or bad, that come with it. It invites us into a community, draws us close and promises the night of our lives.

Recorded over the course of a year, the blueprint for Cult Classics was laid down over a two-week span at Imogen Heap’s Round House in east London. Joy (Anonymous) invited friends old and new to visit - they’d record live instruments in jam sessions upstairs and then retreat to a second room to flip and loop and generally mess with the sounds, moulding them into sizzling dance tracks. “Loads of people were coming up to me like ‘I thought this was going to be a dance record?’” Louis says, remembering the quietly beautiful music they’d be recording. “I’d be like, don’t worry about that, just keep playing.” He’d send it back to people later and they’d be floored - “That was my bit and you’ve made it... jungle!”

It was an organic and creatively fulfilling approach, one that didn’t allow any of the music to get stale or stagnate. As they built the tracks from the sounds they’d collected, Joy (Anonymous) would weave the new songs into their famously improvised live sets, testing them, refining them, taking note of the audiences’ reactions. In a year punctuated by a lot of travel, they’d also incorporate the voices of people they met along the way - “Beazley’s Poem”, which opens the record, features the words of a man who was working security at a Fred Again show at New York’s Terminal Five. “He was basically doing the opposite of his job and being a hype man, climbing on the fence and ramping up the crowd - we ended up hanging out with him - like, who’s this legend?” Louis explains. “He just speaks really amazingly about his life, all these amazing thoughts and opinions - he started jumping on the mic when we were playing, preaching these amazing messages to the crowd, like that we all need to be nicer to each other. The first time we played the record in its entirety, he introduced us and that’s the recording we’ve used.”

Joy (Anonymous) remain dedicated to the spirit of spontaneity. They shut a street down with a surprise waterside party in New York. On a trip to Copenhagen they played an impromptu set in a cafe, which turned into a house party and a night-long good time. In Lithuania, they ended up playing in a decommissioned prison. It’s harder, perhaps, to keep that spirit alive now that they are operating more within the confines of the music industry but they will keep lugging their kit to wherever the party calls for as long as they can. “I think if we lose that, we’ve kind of lost what makes us us,” Henry says.

Bursting with multi-genre reference points and disparate influences, Cult Classics is very much a dance album. The samples we made ourselves or we took from music that is quite different to dance music, but we definitely wanted to shout out a lot of the dance influences that we love,” Henry says. They listened to a lot of Daft Punk and Basement Jaxx as well as The Prodigy (“more rage stuff”), taking songwriting tips from their dance forebears, but also recording bits that felt more like jazz and motown (see: A Place I Belong and the lovely album closer, You’re In Or You’re Out). Emir Taha’s gentle classical guitar runs like a thread throughout Cult Classics, washing into the undertones of the record, tying it all together.

The album follows the beat of a night out, from frenetic, sweaty movement to the gentler winding down as the dawn breaks. At times it is euphoric, celebratory and pure, whirling fun, at others it seeks the joy in the darker emotions that life throws our way. 404 is designed to encapsulate everything about the Joy (Anonymous) journey so far. Skittering beats and ghostly vocals give way to vibrating house chords: sirens blare as we approach a dubstep drop. It’s dramatic and wild, ratcheting up, seeming to settle then hitting you with an intense and frantic breakdown before the ghostly vocal returns to lull us back into the world. It has the feel of a hungry cat playing with a mouse, toying with it before letting it get away.

What sounds like someone playing the spoons on playful, housey How We End Up Here is actually Louis’ restless habit of clicking his rings on everything, one of a myriad of calling cards and easter eggs that day one fans will recognise. They rework Miley Cyrus and Swae Lee’s Party Up The Street into a French-electro-inspired future classic, adding a note of melancholy to a tune that you can imagine hearing blaring from every car on a summer drive. The lyrics on Cult Classic are generally reassuring, inspirational, originally drawn from Henry in stream-of-consciousness freestyles. You’re fine the way you are, they seem to say - the repeated “No need to try” of A Place I Belong, the assurance that “It’s in me all the time” on In Me All The Time. Even the summery but regretful Did You Wrong hints at the growth that is possible from less than ideal behaviour. For Joy (Anonymous), joy isn’t about just being “happy” all the time - it’s about relishing every element of your being.

The name ‘Joy (Anonymous)’ is taken from the work Henry did with Alcoholics Anonymous groups: it is a way to build a community around sharing joy. Their impromptu live sets are known as ‘meetings’; they encourage fans to share moments of joy to their website. They care deeply about the scene they’ve come up in and are determined not to leave it behind. Every show is another chance to reach out and connect with people who love to come together and revel in music as loud as it can go.

Support slots for Fred Again and The Streets, wild B2Bs with Fred and Skrillex, and a set at Four Tet’s Finsbury Park all-dayer this summer have given the duo the opportunity to live out childhood dreams and introduced their infectious live shows to new audiences at huge venues.

With an album as assured and joyful as Cult Classics on the horizon (and a killer collab with The Blessed Madonna coming up), they’re only going to reach higher heights. But the essence of Joy (Anonymous) remains on the South Bank. Between shows at Ally Pally in September, they dragged their camping chairs and gear back down to the banks of the Thames: and it just felt right.

Vladislav Delay presents the fourth EP in his "Hide Behind The Silence" series with five 10" releases coming throughout 2023. Intuitive and raw music, momentary and reflective, released on Ripatti's own label "Rajaton".

Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me.

Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness.
Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’
The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such? Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in.
A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size.
It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.

Q&A with Sasu Ripatti:

1) Tell us something about the EP series ”Hide Behind the Silence”, what’s the idea and what can we expect?

Exploration of inaction. Of many kinds. In arts and in personal life, or at bigger and more serious levels. Questioning myself as a human being as well as an artist. Acknowledging the growing activism all around, and the very clear need for it, and how it reflects my own inaction.
Musically speaking, after Rakka, Isoviha and Speed Demon, I finally found some relief, but more importantly lost the need to go musically ever more outward and intensive. I felt quite strongly certain periods/moods from the past and they made me revisit some musical ideas or states of mind I was exploring early on.
It’s about live moments being captured, not much premeditation or editing. More intuitive and raw, even though the end result (to me) feels and sounds quite introspective and calm. It’s not very ambitious. Momentary and reflective.

2) Your music doesn’t sound very silent. Does it come from somewhere behind the silence?

Oh, this time to me it sounds quite quiet and playing with space if not silence. I don’t know what’s actually behind silence, but I think silence is the source of everything. We just don’t understand it yet.

3) What kind of thoughts or experiences gave inspiration to this series?

Writing this in Nov ’22, it’s not a stretch to say the world has been really unwell. Sometimes, like Mika Vainio put it, the world eats you up. I feel a bit like that. And I try to hide in my studio and stay away from it all, but it’s getting harder by the day. I’ve been questioning myself and thinking if what us artists are doing is worth anything, and whether it’s just a selfish thing I’ve been doing for the past 25 years, running away from everything. I haven’t come to a conclusion yet.

4) Is it easy for you to be in silence, or around silence?

Absolutely. I not only hide behind silence but I also love silence. It’s only since I started going back to nature as a grown-up person that I sensed and was enveloped by silence, true silence. I have begun to appreciate it a lot. I think all the people should spend more time in silence.

All tracks composed and produced by Sasu Ripatti.
Artwork by Marc Hohmann, photography by Shinnosuke Yoshimori.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.

The A side 'Lip Locked' is an animated collaboration between Parris and Untold, is certified fast house compatible and comes stripped back to the classic raw elements of synth stab, vocal, sub bass and kick drum.

Early support by Ben UFO and Marie Montexier.

'Just Look at the Rain' sees a rare solo outing for Untold spinning crunchy breakbeats and guitar stabs into something both old school and new.

ORO was set up in 2014 as a sub-label of Hemlock for the more 'out there' material and has released music from Brian Routh (R.I.P), Untold, IVVVO and Lord Skywave.

Parris runs the label Can You Feel The Sun with Call Super and has just wrapped up a busy summer with performances at Love International, Houghton and Glastonbury festivals, as well as touring the US and Columbia.

In 2023 Untold founded and began running the modular synth brand Laine.

New Jersey, Brick City hip-hop legend Beneficence and UK based producer duo Jazz Spastiks unearth a timeless treasure with the release of their collaboration album "Summer Night Sessions". With a completely jazzy street feel and slick written, soothing, intellectual lyrics the Ill Adrenaline co-founder releases his 8th full length album. Over 25 years of successfully releasing independent music, Beneficence set the bar high by using lo-fi, jazzy boom-bap sounds masterfully. Following his most successful "Stellar Mind" (2021) release accompanied with a memoir ("Concrete Soul - The Memoir & Making of Ill Adrenaline Records") of his life and music journey, the close Artifacts affiliate delivers a personal collage of authentic hip-hop music with a brilliant Jazz Spastiks backdrop. Well selected guest appearances in these "Summer Night Sessions" include Skyzoo, Saukrates, Doodlebug (of Digable Planets), Awon, El Da Sensei (of The Artifacts), J-Live, Rakaa Iriscience (of Dilated Peoples), Kid Abstrakt, Shabaam Sahdeeq, and grammy nominated R&B singer Anthony David on a CD/digital only bonus track. On the first single "Do This, Do That" feat. Awon, Beneficence flows smoothly over simple but captivating horns reminiscing about his come up on the music scene. "At the time I was seated behind Diddy and Biggie, '95 Source Awards keys to the city". "Mic Epps" displays lyricism in its finest form when Beneficence playfully pans between a reference to comedian Mike Epps and microphone episodes. "Civilize 'em with a mic check, I get funny on 'em, Mike Epps, you coming ugly imma swipe left, what we giving you is priceless, the nicest!". The musical marriage between the beautiful sounds of Jazz Spastiks and the sharp pen of Beneficence is tactfully done with rich and hypnotic bangers for hip-hop lovers with an ear for certified dopeness

Turning trash into treasure ist das Motto von Crystn Hunt Akrons neuem Album 'Lick My Fur'.

Darauf nimmt die interdisziplinäre Künstlerin den akustischen Trash unserer Zeit her, transformiert ihn und setzt ihn neu in Beziehung. Der überladene Rausch, die groteske Künstlichkeit und der gezwungene Spaß von Plastik-Pop und Aprés Ski wurden zerlegt und neu kombiniert im Kontext kontemporärer elektronischer Musik. Dabei prallen Welten aufeinander: Hyperpop-Overstatement und Techno-Minimalismus, große Pop-Gesten und abgeklärte Coolness, Club und Performance.

Berlin-based British composer, percussionist, and instrument maker Bex Burch was invited to spend a month in the US by International Anthem in Summer 2022. Burch immersed herself in the label"s creative community and listened to what it gave her, making field recordings and allowing There Is Only Love and Fear to emerge from the collaborations and environments she encountered. Sessions for the album spanned multiple non-traditional recording spaces including a storefront in Bridgeport, Chicago and a canyon in Griffith Park, Los Angeles, with an eminent cast of creative musicians including Ben LaMar Gay, Macie Stewart, Anna Butterss, Mikel Patrick Avery, and Dan Bitney of Tortoise, all of whom Burch met for the first time in the moments before they played. These moments of instant collaboration were then edited, decomposed, and recontextualized by Burch, resulting in a deeply organic, energetic-yet-patient addition to the canon of modern composition.

Berlin-based British composer, percussionist, and instrument maker Bex Burch was invited to spend a month in the US by International Anthem in Summer 2022. Burch immersed herself in the label"s creative community and listened to what it gave her, making field recordings and allowing There Is Only Love and Fear to emerge from the collaborations and environments she encountered. Sessions for the album spanned multiple non-traditional recording spaces including a storefront in Bridgeport, Chicago and a canyon in Griffith Park, Los Angeles, with an eminent cast of creative musicians including Ben LaMar Gay, Macie Stewart, Anna Butterss, Mikel Patrick Avery, and Dan Bitney of Tortoise, all of whom Burch met for the first time in the moments before they played. These moments of instant collaboration were then edited, decomposed, and recontextualized by Burch, resulting in a deeply organic, energetic-yet-patient addition to the canon of modern composition.

Berlin-based British composer, percussionist, and instrument maker Bex Burch was invited to spend a month in the US by International Anthem in Summer 2022. Burch immersed herself in the label’s creative community and listened to what it gave her, making field recordings and allowing There Is Only Love and Fear to emerge from the collaborations and environments she encountered.

Berlin-based British composer, percussionist, and instrument maker Bex Burch was invited to spend a month in the US by International Anthem in Summer 2022. Burch immersed herself in the label’s creative community and listened to what it gave her, making field recordings and allowing There Is Only Love and Fear to emerge from the collaborations and environments she encountered.

Mit 'Alles Liebe' verbindet das Brüderpaar Schattenmusik Psychedelic, Schlager und Rock ’n‘ Roll!

Schattenmusik sind die Brüder Enzio und Hieronymus Kloss. Ihre Musik bezeichnen sie als psychedelischen Schlager, Humanisten-Rock oder Zen-Punk. Tatsächlich wurzelt ihr Debütalbum 'Alles Liebe' im Summer of Love und erstreckt sich quer durch die Geschichte des Folk und Rock ‘n‘ Roll. Das feinfühlige Bruder-Duo aus der Mozartstadt lässt es einem warm ums Herz werden, wenn ihre deutschsprachige Poesie sanftmütig im Ohr bleibt.

‘Reach For The Sun’, their debut album, helmed by produced by Paul Leavitt (All Time Low, Circa Survive) cemented ‘The Dangerous Summer’ in the Pop-Punk scene.  Blending melodic rock, pop-punk and emo, lyricist and vocalist AJ Perdomo explored a wide range of themes in ‘Reach For The Sun’, including love (‘Never Feel Alone’), life (‘Settle Down’), death (‘The Permanent Rain’), the past, the future.  What makes ‘Reach For the Sun’ truly remarkable is its universal appeal and resonance. The album consistently garners recognition on lists of essential pop-punk and emo releases, often being mentioned alongside legendary records by Green Day, Paramore and Sunny Day Real Estate.  For fans of Taking Back Sunday, The Starting Line, The Wonder Years

In the late 1980s, Disco was taking a backseat to the burgeoning psychedelic scene in San Francisco, marking a pivotal shift in musical culture. A dynamic transformation was underway as the younger generation sought a fresh auditory adventure, all while the devastating AIDS epidemic cast a somber pall over the city's nightlife. Amidst this evolving backdrop, a subtle yet distinct sonic movement quietly emerged within the confines of San Francisco’s vibrant club scene, often referred to as "The Beat." Although Hip-Hop, New Wave, Gothic, Punk, and the burgeoning Modern Rock genre held considerable sway, the pre-RAVE clubs in SF witnessed the fusion of these genres into a unique amalgam of sound that insiders dubbed “The Beat.” This musical tapestry encompassed everything from Hip-Hop and Freestyle to Industrial, New Wave, Boogie, Miami Bass, and Techno – the unifying thread being the distinctive vibe that characterised this eclectic mix.

As House, Techno, and Raving gradually gained prominence along the West Coast, a distinctive interpretation of these evolving sounds took root. Drawing inspiration from influential hubs like New York, Chicago, Detroit, Europe, and notably the UK, which saw a wave of talented young DJs migrate to California, San Francisco became the backdrop for its own version of the second Summer of Love. While the exact chronology might spark debate – some recalling '92, while others leaning towards '93 – what remains indisputable is the era spanning from 1990 to 1994, an unparalleled epoch of exuberant dancefloor revelry on the western shores.

In the face of limited backing from major labels or established independent dance music entities of the time, a grassroots movement of labels and producers emerged organically, ardently championing this distinct sound and catapulting it onto the global stage. This sonic identity was deeply influenced by “the Beat,” acting as a creative wellspring that informed the musical landscape. While the tracks compiled in these volumes might not encompass the entirety of this transformative musical epoch, they offer a vivid snapshot of the melodious tapestry that coloured San Francisco and the broader West Coast during that era. Each track featured stands as a 100% Sure Shot that was played heavily by DJ Spun back in those very heady days.

Finally, but by no means least, we unveil the third and concluding volume of this extensive, impeccably curated chronicle of San Francisco's underground rave scene and its unique soundscape. Mirroring the same fervour and meticulous track selection as the first two volumes, 'The Beat By Spun' is nothing less than indispensable for any dedicated music enthusiast, DJ, or dancer. Once again, this collection showcases an outstanding array of tracks, featuring music from talents like Mattski, Bass Kittens, Hawke, and Deep2, all maintaining the high standards set by the previous volumes. It's a blend of rarities, classics, and obscurities, combining to deliver an exhilarating, almost transcendental experience to those who dare to immerse themselves in the sonics!

It's a pertinent start-point because, in many ways, God Is Luck exists firmly within that realm, many of the songs pulled directly from improvisation before being twisted into the mysterious shapes we find here on the finished record.

Recorded between the summer of 2020 and the summer of 2022, God Is Luck is an exercise in artistic freedom. The songs came quickly and easily by design, the whole point of the record and the approach to simply let go.

The third Bad History Month LP - following the Pitchfork-championed Old Blues (2020) - where aspects of the new album mirror the shape of Sprecher's previous work, its creation was an altogether different experience for the Philadelphia-viaBoston songwriter. He describes it as a collaboration with 'luck', the freeform nature of the recording resulting in a process that felt "fun and easy and fearless in a way that recording had never been."

"God is Luck means you can control reality by choosing your perspective to always see the luck, which makes you the god of your own reality," Sean Sprecher says of his latest record. With that notion at its core, Bad History Month's latest adventure finds twisted new ways to tell age-old tales. Even in its most fearless compositions, buried within dense fog, it strives for goodness; freedom from fear, love for friends, surrounding yourself with those who inspire.

Jesca Hoop"s debut album Kismet (2007) stands out as one of those rare examples of a newcomer getting it right on the first try and winding up with one hell of a tough act to follow. September 2023 sees Kismet"s 16-year anniversary and to celebrate, Hoop is reissuing Kismet on vinyl paired with The Complete Kismet Acoustic, a live stripped back version of the album. While Kismet brims with studio wonders and the absolute joy of diving into the medium with musical giants that include Stewart Copeland, Matt Chamberlin, Blake Mills, Shawn Everett and Tony Berg, The Complete Kismet Acoustic brings us to the heart of Hoop"s character with just two acoustic guitars and three voices. Listening back-to-back is a striking experience. This double gem is the first ever vinyl pressing of both titles and is not only a must have for the collectors of Hoop"s work but an essential for those new to the realm.

The first half follows all of the paths that lead in circles, the tangled yarn that never finds the end. But it holds on. It's stronger than you think.

The second half is how we untangle and get put together again. The final song features a recording I took at the end of last summer, a warm night with a campfire, some crickets, and the people we love. Because even when we unravel, there are ways to be put back together.

Formed by Monster Magnet’s John McBain and Soundgarden’s Matt Cameron & Ben Shepherd in 1993 during some downtime from their day jobs and side project Hater (who released a self-titled album in 1993), Wellwater Conspiracy set about immersing themselves in the dayglo world of sixties psychedelia, channelling the vibrations of Syd Barrett’s Pink Floyd and the 13th Floor Elevators to produce the garage lo-fi-lysergic assault on the senses that is their debut album ‘Declaration of Conformity’. Originally issued on Mudhoney’s Steve Turners Super Electro label in 1997, the album was met with critical acclaim upon its release, and Rolling Stone magazine said, “Declaration’s tinny, fuzzed-out sonics decidedly evoke the Summer of Love.” God Unknown Records are proud to be welcoming the album back into print and on all digital platforms, and this coming September 22nd will see the release of a remastered vinyl pressing with extra tracks and new artwork taking influence from Blue Note Records’ fabled artwork. From start to finish, ‘Declaration Of Conformity’ is a loving homage to the true beginnings of psychedelic rock, long before the music got harder and heavier. Songs like ‘Green Undertow’ and ‘Sleeveless’ hark back to the time when The Beatles were spinning the world on its axis with ‘Tomorrow Never Knows’, Syd Barrett was the piper at the gates of dawn and Roky Erickson was introducing the world to his Texan psychedelic sounds. Wellwater Conspiracy’s music exists at that moment when pop music started to fracture and go far further out. It was still pop music, but the edges were starting to blur and the sounds were starting to fracture. This is where ‘Declaration of Conformity’ sits; at the dawn of one of the biggest cultural shifts in musical history. The Bandcamp link will also feature two bonus download-only tracks, a cover of ‘Akka Ragga’ by Shocking Blue and ‘Late Night’ by Syd Barrett. Both tracks feature Josh Homme on guitar and bass. Tracklisting A1 Sleeveless A2 You Do You A3 Trowerchord A4 Green Undertow A5 I Love You Every Day Sandy A6 Nati Bati Yi A7 Far Side Of Your Moon B1 The Ending B2 Space Travel In The Blink Of An Eye B3 6-6-5-4-3-2-1 B4 Shel Talmy B5 Lucy Leave B6 Declaration Of Conformity B7 Palomar Observatory

Their notoriously fierce live performances are only going from strength to strength, with Wolf Alice inviting her on their extensive 2021 UK tour having witnessed the energy of their show.

Her stagecraft also caught the eyes of legendary fashion house Alexander McQueen, becoming creative director Sarah Burton's recent muse. Having recently closed their flagship runway show at London Fashion Week, the band also partnered with McQueen for a campaign this summer which captured them taking to the stage in Glasgow's legendary and glitzy Barrowland Ballroom.

Oozing confidence and ready for what lies ahead, 2023 feels like a defining year for Lucia & The Best Boys.

Much Love is the debut album by British singer Shola Ama. Ama worked with songwriting collective D'Influence on much of the album.

The group"s second LP for Epitaph finds HUNNY playing in a brand-new musical sandbox, balancing the haze of hindsight with a sun-soaked SoCal summer. From the meditative track "my own age" and breakbeat-backed, late "90s-leaning "all my luck" to the lo-fi punk standout "ring in your ear" (featuring Motion City Soundtrack"s Justin Courtney Pierre) and made-for-dashboard-drumming "89cc" (complete with a searing sax solo) the album is a testament to the band"s musical fluency and dedication to their craft. HUNNY was born out of the tight-knit North LA indie-rock scene of the mid-2010s, sharing stages and even band members with acts like The Neighbourhood and Bad Suns from an early age. The band is well established in the digital space, having racked up over 300+ Million streams to date on their catalog. By the time the band had secured a record deal with legendary Epitaph Records and released their 2019 debut full-length, Yes. Yes. Yes. Yes. Yes., outlets like Alternative Press were hailing HUNNY - vocalist/guitarist Jason Yarger, guitarist Jake Goldstein, bassist Kevin Grimmett and drummer Joey Anderson - for their spin on "perfunctory electronic and new-wave pop, teeming with love, heartbreak, neuroses and impeccably sweet dancing shoes." Now, on the verge of entering their second decade together, it"s clear HUNNY"s greatest asset is their disinterest in doing anything besides what moves them. It"s afforded them great range as a band, the ability to naturally shapeshift on their own albums as well as win over audiences across the entire rock spectrum. Most importantly, it"s propelled them to be unapologetically themselves and trust what"s gotten them this far.

The most potent memories I have of music are from my early childhood listening to the oldie's station, riding in the back of my Pops' 1975 Cadillac Seville to work alongside him moving plants in Sacramento at the now long gone Capitol Nursery during white hot summer afternoons, and then the drives back home in the purple twilights and oily blue-oranged nights. I'm talkin' The Temptations, War, Earth Wind and Fire, Al Green, Sly and the Family Stone, The Delfonics, Stevie Wonder, Chaka Khan...soul music. I loved the melodrama of it all. The world outside refracted and transmuted through the crackling speakers past Pops' thumping thumb and my tiny whirring mind and left whatever road behind us fundamentally changed in our wake. Through the years other sounds too left its imprint well before I picked up a guitar. Rap, Punk, hardcore, dub, R&B--and a little later in middle school, blues, folk and country. But those early Cadillac memories always remained the bedrock. With folk and blues music, I fell in love with the immediacy of it and found the acoustic guitar economical for all the solitary roaming of my early 20's. All the while I knew that one day, when I had something I felt like I could add, I wanted to incorporate the sound of those early Cadillac memories. But only after I felt established as a songwriter in its most simple form, banging on a wooden guitar and yodeling up some melody did I feel comfortable exploring other sounds and only recently did I find the time and space to do that. The pandemic trapped all the world in their rooms. While recording my last record in the height of it and at the behest of my friend and You, Yeah, You producer Brad Cook and his friend Justin Vernon, I bought my first keyboard. A Roland Juno DS. I started tinkering on it throughout the past couple of years and as I became more stationary started writing songs on different instruments that I accumulated. Layering sounds on garageband in my apartment writing bass and horn parts, making drum loops, adding synth... I became pretty obsessive with the endless possibilities it brought and got quicker and quicker at making songs that way. It was just so fun and limitless.

The most potent memories I have of music are from my early childhood listening to the oldie's station, riding in the back of my Pops' 1975 Cadillac Seville to work alongside him moving plants in Sacramento at the now long gone Capitol Nursery during white hot summer afternoons, and then the drives back home in the purple twilights and oily blue-oranged nights. I'm talkin' The Temptations, War, Earth Wind and Fire, Al Green, Sly and the Family Stone, The Delfonics, Stevie Wonder, Chaka Khan...soul music. I loved the melodrama of it all. The world outside refracted and transmuted through the crackling speakers past Pops' thumping thumb and my tiny whirring mind and left whatever road behind us fundamentally changed in our wake. Through the years other sounds too left its imprint well before I picked up a guitar. Rap, Punk, hardcore, dub, R&B--and a little later in middle school, blues, folk and country. But those early Cadillac memories always remained the bedrock. With folk and blues music, I fell in love with the immediacy of it and found the acoustic guitar economical for all the solitary roaming of my early 20's. All the while I knew that one day, when I had something I felt like I could add, I wanted to incorporate the sound of those early Cadillac memories. But only after I felt established as a songwriter in its most simple form, banging on a wooden guitar and yodeling up some melody did I feel comfortable exploring other sounds and only recently did I find the time and space to do that. The pandemic trapped all the world in their rooms. While recording my last record in the height of it and at the behest of my friend and You, Yeah, You producer Brad Cook and his friend Justin Vernon, I bought my first keyboard. A Roland Juno DS. I started tinkering on it throughout the past couple of years and as I became more stationary started writing songs on different instruments that I accumulated. Layering sounds on garageband in my apartment writing bass and horn parts, making drum loops, adding synth... I became pretty obsessive with the endless possibilities it brought and got quicker and quicker at making songs that way. It was just so fun and limitless.

KID FRANCESCOLI, leader of the French Riviera Touch is back with the stellar album SUNSET BLUE out Sept 22nd 2023.

After a first sold-out world tour (over 200 concerts in Europe, USA, Asia...), and successful hits such as Nopalitos, Blow Up or Moon (now certified diamond, with more than 200 millions streams), the Marseille-based producer, crooner and multi-instrumentalist, Mathieu Hocine, is eager to share his most accomplished LP ever. This fine collection of soulful songs honor his Mediterranean roots, with elegant and pop melodies. His most recent success and the creation of his first original soundtrack with AZURO, installed him as one of the best French songwriters of his generation, with a unique signature sound.

"I live in Marseille, I spent my childhood in Corsica, I have Algerian origins, my first vacations with friends were in Barcelona, vacations with my first girlfriend in Roma,... Then, I had the chance to perform in Morocco, Greece, Turkey and Egypt: each time I spent time in the Mediterranean region, the people I met there made me feel like I was part of the same country. This shared multiculturalism is really comforting, it has its own poetry and strength, bringing uniqueness and empathy to the people. It is essential for me. I love my city: it’s the perfect place to feel good with sun, sea, family, friendships, love... It gets me emotional, bringing tears with a smile".

With his new musical gem, Mathieu Hocine unveils 11 elegant tunes of his finest craft: sunbathed French Touch (Run Run, 1986), romantic chillwave (Corsica), uplifting synthpop (You Are Everywhere, Like Magic), electronic-soul (Casino Soul), cinematic disco (Solaris), cosmic R&B (Sweet and Sour, Take Time), … Everything is in this record.

For the first time ever, Kid Francescoli paid tribute to his mixed origins with his collaboration with world-renowned lute and mandolin player Hakim Hamadouche (Rachid Taha, Patti Smith, Brian Eno, Tricky...), whom added Algerian patterns to the introspectives songs Drift in Blue and The Morning After.

"My ambition is to create pictures in people's heads with music, to transport them instantly into a movie"

SUNSET BLUE is an instant-crush album: crystal-clear, strong, personal but universal at the same time.

It's an ecstatic soundtrack for this moment when time is suspended, the golden hour when everything seems possible. It feels like Love is in the air, you're living your best life and you're at the right place at the right time. This album embodies this magic moment where we would like to last forever… Like an epiphany, Kid Francescoli's new album is a moment of pure pleasure, a soothing way to escape reality.

"I see myself as a melodist.I would like my music to feel like velvet. There's something cinematic, classy about it, and yet comforting. It's very simple, popular and synonym of love and passion"

His friend French 79 co-produced the album, while the american rapper Bamby H2O brought his NYC swag (on Sweet & Sour), Stan Neff (Polo & Pan, Kungs, Christine and the Queens...) took care of the mix and Alex Gopher (Daft Punk, The Blaze, Bon Entendeur...) added a final touch of magic when mastering. Nicolas Despis (known for his work with Etienne Daho, Hoshi, Juliette Armanet... and many famous French rappers) later joined this dream-team to craft custom-made artworks. SUNSET BLUE is a deeply personal quest, a human adventure for Mathieu Hocine (whom explores his maghrebian origins, his feminine side, his subconscious space, ...). It's a male's work, but don't get it wrong, this LP would be nothing without women’s touch : Julietta (on Run Run and Take Time), Sarah Gaugler from Turbo Goth (on You Are Everywhere and Like Magic), and iOni (on Drift in Blue).

“Music has this magical power to broaden your vision of the world. It's fascinating because, like dreams, it's the kind of irrational things science can't explain and that makes life exciting."

Planets aligned perfectly on this project and thanks to this five-star cast of collaborators, Kid Francescoli achieved his personal holy grail : he orchestrated a great 21st century pop-music album.SUNSET BLUE is a new turning point between organic and electronic, both a mediterranean travel and a Californian dream, a bridge between Ennio Morriconne and modern electronic music.

Also, while it might be called SUNSET BLUE in honor of the sea and the Portuguese / Brazilian concept called “saudade”, but it is a really optimistic album, whose true colors would rather be "yellow-orange-red" in nod to the sun.

Created in the midst of the world tour, SUNSET BLUE is a direct result of the lives’ energy and fans’ joyful vibes: going back in the studio after smiling, singing and dancing with people all around the world inevitably gave Kid Francescoli the desire to retranscribe this ecstatic feeling in music. This album is a sensitive experience, from sunrise to sunset, from first track to last one. It’s an exploration of an everlasting summer, reaching its climax in the very final seconds of the track Corsica, making us want to press play and dive into this jewel all over again.

A beautiful cosmic trip, whether you like to stay in bed cocooning, to travel far, far away or to dance ‘till dawn, to catch the first rays of light.

Make sure to catch Kid Francescoli on his next world tour to have a good time.

Loud & Clear / N.O.R.E (Buttas Remix) b/w Cherry Blossoms (Love Notes Mix) by Strictlybutters | Galaxy Sound Co. – GSC 45-038 | Summer time vibes are here & @galaxy_sound_company is back at it with another sure-shot #hiphop donut via @strictlybutters. I got my hands on an advance copy of a limited-run test pressing & it is cut loud! Ya know ya will be boomin’ in ya, boomin’ in ya, boomin’ this in ya jeep!

Galaxy Sound Co. started taking these occasional fire #hiphopinstrumental interlude breaks from their 45 edit series to shine light on the Michigan skateboarder, cyclist, sneaker-head & bedroom b-boy beat maker Strictlybutters. With the 38th donut in the GSC 45 series, he is making his 3rd appearance on the label & it is another banger.

Side A1’s “Loud & Clear” is a straight-up, warm-up boom-bap banger. It effortlessly, teases along by MC royalty with a sweet soulful piano riff rolling along MPC delights. A joyful crowd is weaved through a familiar GWJ break calling you do get up & get down. A2’s “N.O.R.E. (Buttas Remix)” teases with a buttery-soul laced rework of with a snippet from Noreaga’s “SuperThug”. The only fault here being SB only gives us a taste at just over a minute long. More please.

Side B’s “Cherry Blossoms (Love Notes Mix)” is a killer joint in the vein of 90s hip-hop love jams, with the core sample being one of my fav sweet soul songs from Detroit, 1969’s “Maybe So Maybe No” by the New Holidays (Soulhawk Records 1008). SB lets this beat breathe to perfection, rolling fa-la-la-la’s that slide into a sexy outro.

Like a well-wrought character in a Hollywood movie, 'Standards from
Film', guitarist Mike Moreno's fourth Criss Cross album, exists atop a
solid, cogent back story
Recorded in December 2021, when the world and New York City - Houston-born
Moreno's home for more than two decades - were no longer on COVID lockdown,
it documents the leader's exhaustive investigations into the provenance of ten
iconic standards that, as he puts it, "are the summer jazz workshop tunes" - they
say you have to learn these songs if you want to be a jazz musician. You learn
them very young or in the beginning days of your journey into this music.
The album was recorded December 22, 2021 at the Samurai Hotel Recording
Studio in NY. Recording engineer Mike Marciano also did the editing, mixing and
mastering at Systems Two in NY

It was in early 1960, with Sweet Nothin's, that things really took off for
Brenda Lee on both sides of the Atlantic. Like all of her hits, it was
recorded in Nashville by legendary hit-maker Owen Bradley who produced hits for Patsy Cline, Loretta Lynne and Kitty Wells.

He was the man credited as the creator of "the Nashville Sound". With just five minutes left at the end of a session, Brenda cut I'm Sorry and in the Summer of 1960 it would become her first U.S. No.1. A second U.S. No.1 followed in I Want To Be Wanted. Amidst the overwhelming sweep of the British Invasion in 1964, she retained her UK following for five successive years, Brenda Lee was voted Best World Female Vocalist in the New Musical Express poll.

Das siebte Studioalbum von US-Ausnahmemusiker:in LP, erscheint am 29. September 2023 bei BMG. Auch mit dem Nachfolger zu Churches (2021) widmet sich LP der Komplexität menschlicher Erfahrung und vertont ein sehr viel klarer umrissenes Selbst- und Weltbild als je zuvor.

Das neue Album vereint insgesamt zwölf Tracks, die tiefe Einblicke in LPs bisherige Lebensgeschichte erlauben, wenn es immer wieder auch um zurückliegende Beziehungen geht - romantische Beziehungen, familiäre Beziehungen, auch um die Beziehung zu sich selbst.

Unterstützung bekam LP von Ashton Irwin (5 Seconds Of Summer), Andrew Berkeley Martin (Palaye Royale) sowie vom GRAMMY-nominierten Produzenten und Songwriter Matthew Pauling. Das Resultat ist ein fesselndes, extrem emotionales Werk, das vor allem zeigt, wie sehr LP gewachsen ist - und was sie alles auf ihrem Pfad der Selbstfindung herausgefunden hat. Love Lines verknüpft LPs unverwechselbare Stimme, aufrichtiges Storytelling und unverblümten Rock & Roll mit so viel emotionalem Tiefgang, dass LP selbst von einem essentiellen Meilenstein spricht.

Blues Lawyer is back on Dark Entries with a new 7” EP of summery alt-pop. Fresh off the heels of their critically acclaimed Dark Entries debut, Sight Gags On The Radio expands the Blues Lawyer universe, one where lovelorn millennials struggle to find their place. The four songs were recorded one afternoon by Rob I. Miller, Blues Lawyer co-founder and chief songwriter, in the band’s Oakland rehearsal space. It was recorded just days before Elyse Schrock (singer, songwriter, drummer, and music video creator) would be leaving the Bay Area – her home for the past decade – due to the soaring cost of living. The first single, “Have Nots,” shows the band moving away from the rapid chord changes that characterized their earlier work towards hazy guitar textures. It is accompanied by a tender music video portrait of the band reuniting in Portland, where Schrock now resides. The video documents the band’s touring life: playing pizza parlors and billiard clubs, sleeping on floors, and killing time between gigs. These touching images are elevated by Schrock’s trademark animations and editing style. Blues Lawyer also experiment with new songwriting configurations on this EP. “True Love’s Only Name,” was musically developed by Blues Lawyer guitarist, Ellen Matthews, lyrically by Miller, and sung by Schrock. Sight Gags On The Radio captures the essence of the band's sound but also reflects their development as songwriters. The outcome is Blues Lawyer’s most compelling artistic proclamation to date. Each 7” is housed in a warm orange toned jacket designed by Eloise Leigh featuring lyrics on the back. Blues Lawyer - Sight Gags On The Radio 7” EP releases Friday, September 29th via Dark Entries days before the band embarks on their first tour of Europe and the United Kingdom.

After supporting Alison Krauss & Robert Plant during summer '22 and going on tour alongside Charley Crockett across UK and Netherlands, French-Canadian singer-songwriter Theo Lawrence invites you to travel with him on the roads of Texas for an exclusive RSD release. Four performances captured on the spot, in a studio away from the city. Love songs flirting with bluegrass and rock'n'roll, straight out of a honky tonk where western waltzes follow one another. With this country hillbilly quartet (fiddle, lap steel and double bass), each of the instrumentalists is a reference. Together they form the beating heart of the Austin, TX music scene.

UNOS, a Belgian artist with roots in the Philippines, has long been a part of the Darker Than Wax family, repping the label in Europe and beyond for a number of years through her parties and DJ sets. As she begins to put her unique productions out into the world, we are pleased to give her first release a home on the label.

Borrowing its title from the exuberant Filipino dining tradition - a communal, bare-handed feast among friends and families - UNOS' debut EP Boodle Fight highlights her sincere love for communities forged through club culture. The release was conceptualised during her first Asia tour through Singapore, Bangkok, and Manila in 2019, where the artist became acutely aware of the crucial role that community plays in sustaining a culture. Shortly after these foundational travels, the pandemic threatened the lifeblood of this

culture, prompting her to draw on her feelings from the tour to maintain hope. With the release of the EP, UNOS revels in the return of togetherness to club culture after the pandemic - just like a musical boodle fight.

Boodle Fight ties together this celebration of community with a number of other influences and experiences in the artist’s life. First single ‘Angermanagement’ is a ballroom-inspired roller, focusing on contemporary voguing culture’s ability to translate anger into queer empowerment. ‘Powerslide’ is a piano-driven house cut that attempts to capture the energy of a legendary Darker Than Wax block party in Singapore in 2019, while the frenetic pace of ‘Headlock’ evokes imagery of a crowded club scene that the artist sorely missed in 2020. True to the spirit of a Boodle Fight, the bright chords and bouncy rhythms on ‘Flavourtown’ imagine the best aspects of an inclusive space where diversity is celebrated like a buffet. Closing out the record, ‘Loveletter to Summer’ reflects on the tropical warmth of her roots in the Philippines. Boodle Fight manages to pack in quite a few themes and inspirations, while still maintaining a polished consistency from front to back, and announces UNOS as a producer to watch.

Ed Sheeran’s brand-new album Autumn Variations will be available for pre-order on the 24th August at 5pm before a worldwide release on the 29th September. It will be available to stream on all platforms as well as purchase physically as a CD or various limited Vinyl editions.

Ed Sheeran is an era-defining artist who has sold over 52 million albums and 150 million singles across the world. Through his fusion of thought-provoking songwriting, universal pop and multi-genre influence, his rich tapestry is not only perfectly suited to his audience but it’s something that transcends generations.

Since surfacing on the UK circuit in 2010 with his ‘No.5 Collaborations Project’ – an eight-track EP featuring his favourite grime artists of the time – the Suffolk-raised recording artist has resonated with fans across the world through his peerless songcraft and versatility. And now, with six consecutive UK No.1 albums to his name – ‘+’ (2011), ‘x’ (2014), ‘÷’ (2017), ‘No.6 Collaborations Project’ (2019), ‘=’ (2021) and ‘-‘ (2023) – Sheeran continues to reaffirm his status as one of the most in-demand pop stars on the planet.

Prior to the release of ‘=’ (October 2021) – an album that’s now surpassed five million global sales - Sheeran secured two UK No.1 singles in the UK with ‘Bad Habits’ and ‘Shivers’, which sat atop the UK’s Official Singles Chart for a combined total of 15 weeks. Moreover, the LP saw him take home 2 x EMA’s for ‘Best Artist’ and ‘Best Song’; an American Music Award for ‘Favourite Male Pop Artist’; British GQ’s ‘Solo Artist of the Year’; 4 x Los40 Awards; a BRIT Award for ‘Songwriter of the Year’ alongside a nomination for ‘Song of the Year’ at the 2022 GRAMMY’s.

Sheeran’s most recent album, Subtract, secured Ed his sixth No.1 album. Produced by Aaron Dessner, the album was anchored in his love of singer/songwriter compositions and written against a backdrop of personal grief and hope. Ed’s most critically-acclaimed album to date, it housed the heart wrenching UK No.1 single ‘Eyes Closed’ – a song about his late friend, Jamal Edwards.

But it’s not just his recorded music that’s seen the former Glastonbury headliner become one of the sought-after artists of the 21st century. Possessing a mystical ability to turn 90,000 capacity venues into the pub back-rooms that he first started playing in, Ed made history in 2015 after becoming the first-ever artist to play Wembley Stadium solo - without a band, just with his guitar and loop pedal - over three, consecutive sold out nights. Move forward to the summer of 2019 and Ed would re-enter history books after the completion of his mammoth two-year Divide tour, officially becoming the most-attended tour of all time after it culminated with special homecoming shows in Ipswich, Suffolk. Beginning last summer, Ed is currently travelling the world on his ‘+ - = ÷ x Tour’ (pronounced ‘The Mathematics Tour’), which saw him return to Wembley Stadium for a five-night run last June.

Ed Sheeran, who was awarded an MBE for his services to music and charity in 2017, is the proud recipient of 1 x IFPI Award (best-selling global artist of 2017); 4 x Grammys; 4 x Ivor Novello’s; 7 x BRIT Awards (including two consecutive wins for ‘Global Success’ in 2018 and 2019); 7 x Billboard Awards + more. Moreover, to this day, his blockbusting third studio album ‘÷’ remains the fastest-selling album, ever, by a male artist in the UK, while the LP’s lead single, ‘Shape of You’, maintains its status as the most-streamed song in Spotify’s history.

At the end of 2019, Sheeran was presented with the Official Chart Company’s first-ever ‘No.1 Artist of the Decade’ award following a host of accomplishments in his native UK including the most No.1’s across the UK’s Official Singles and Albums chart from the years 2010-2019. Most recently, Ed scored two more feats with the OCC after becoming the first British Solo Artist to claim 52 weeks – an entire year – at No.1 on the Official UK Singles Chart, with only Elvis Presley and The Beatles achieving more overall weeks at the top, as well as becoming the first-ever artist with four albums spending an entire year or more in the UK Top 10.

In the late 1980s, Disco was taking a backseat to the burgeoning psychedelic scene in San Francisco, marking a pivotal shift in musical culture. A dynamic transformation was underway as the younger generation sought a fresh auditory adventure, all while the devastating AIDS epidemic cast a somber pall over the city's nightlife. Amidst this evolving backdrop, a subtle yet distinct sonic movement quietly emerged within the confines of San Francisco’s vibrant club scene, often referred to as "The Beat." Although Hip-Hop, New Wave, Gothic, Punk, and the burgeoning Modern Rock genre held considerable sway, the pre-RAVE clubs in SF witnessed the fusion of these genres into a unique amalgam of sound that insiders dubbed “The Beat.” This musical tapestry encompassed everything from Hip-Hop and Freestyle to Industrial, New Wave, Boogie, Miami Bass, and Techno – the unifying thread being the distinctive vibe that characterised this eclectic mix.

As House, Techno, and Raving gradually gained prominence along the West Coast, a distinctive interpretation of these evolving sounds took root. Drawing inspiration from influential hubs like New York, Chicago, Detroit, Europe, and notably the UK, which saw a wave of talented young DJs migrate to California, San Francisco became the backdrop for its own version of the second Summer of Love. While the exact chronology might spark debate – some recalling '92, while others leaning towards '93 – what remains indisputable is the era spanning from 1990 to 1994, an unparalleled epoch of exuberant dancefloor revelry on the western shores.

In the face of limited backing from major labels or established independent dance music entities of the time, a grassroots movement of labels and producers emerged organically, ardently championing this distinct sound and catapulting it onto the global stage. This sonic identity was deeply influenced by “the Beat,” acting as a creative wellspring that informed the musical landscape. While the tracks compiled in these volumes might not encompass the entirety of this transformative musical epoch, they offer a vivid snapshot of the melodious tapestry that coloured San Francisco and the broader West Coast during that era. Each track featured stands as a 100% Sure Shot that was played heavily by DJ Spun back in those very heady days.

The second installment of this remarkable journey into the underground scene maintains the same profound level of depth and significance as its precursor. Showcasing tracks from Electroliners, High Lonesome Soundsystem, Single Cell Orchestra, DJ Emma, and Spun's own Central Fire project, all harmoniously enclosed within the captivating and arresting artwork by Villain Standard, this release stands shoulder to shoulder with its forerunner. Beyond a mere compilation, it's an indispensable extension of the narrative that has indelibly shaped the culture of underground American dance music within the region, embodying the era and the individuals involved. This is the authentic underground sound that reverberated across San Francisco and its surrounding environs, a truly distinctive and exceptional moment in time and space.

Alek Lee is back on Antinote to release his debut LP ‘You’. Covering 16 songs and crafted in theproducer’s studio over the past few 4 years, the Tel Avivian has swapped the misty aura of his first two EPs for a smoked out haze. ‘You’ effortlessly blends digi-dub, boogie, and yacht rock to create a washed out, dub-pop sound befitting of its place of recording sat at the edge of the desert and the sea. If Lee’s earlier works were defined by brooding downtempo beats with kids television vocal samples sprinkled amongst them, then the album hears the producer open himself up to the process of the singer-songwriter, getting behind the microphone and optimistically speaking words of his own.

But perhaps that may be put too bluntly. Fankly, Lee fluidly moves between crooning, whispers, gasps all the way to full on ballad style singing effortlessly and with ease. His newly develop vocal experiments are too supported by an impressive array of collaborators which can be found in the LP’s liner notes. These collaborations also help to mix far-flung musical styles into the LP. For instance, take Kol Hayom featuring Keren Ilan. It’s a laid-back tune that would sit comfortably beside Rita Lee tropicália. Or Love To Puff You Baby featuring $hkuru, which upends Donna Summer’s bodily groove into a heady bop.‘You’ is a testament to Alek Lee’s prolific exploration of his own brand of dub: shimmering off-beat guitars, low-fidelity beats and deep grooves. Oh and always a melodica line found somewhere amongst it.

A month after the release of his debut album as Tambores En Benirras, 2021’s fabulous Orbe Dotodo, Graham Newby’s life changed forever. After years living with a visual impairment, his sight had deteriorated so much that he was declared “registered blind”. For a man who had spent decades dividing his time between travelling, DJing, running clubs and lengthy sessions in his own studio, it was a genuinely life-changing moment.

It was against this backdrop, and the need to alter his working methods, that Ondas Horizontales, the second Tambores En Benirras album took shape. Inspired by a mixture of daydreaming, visualisation, immersion in other people’s music (escapism that provided mood enhancement, rather than a specific set of ideas) and long periods spent soaking up the sun in Ibiza, the album is the most vividly detailed, sonically colourful, and sun-soaked collection that Newby has released to date.

Newby’s declining sight forced him to stop spending long spells staring at a screen and undoubtedly slowed down the production process. Yet it also allowed him to reconnect with his emotions, appreciate the storytelling and mood-shifting potential of music, and mine mind’s eye memories of places and spaces that have meant much to him over the years.

The results are undeniably stunning. Designed with horizontal listening in mind, the set distils a range of musical and real-life inspirations –or, as he puts it, “ambient soundtracks, cosmic journeys, Balearic rhythms and poolside sessions” – into ten mesmerising and magical tracks; an undulating, slow-motion journey that’s as breath-taking as it is beguiling.

Newby sets the tone with ‘Mi Sueno Vibe En Reverb’, a swelling, slow-burn ambient masterpiece that tiptoes between hope and melancholia, before flitting between imaginary sunset soundtracks (‘Estrellas En Mastella’, where lilting pedal steel sounds, bubbling electronics and shuffling breakbeats catch the ear), kaleidoscopic sun-up beats (the gorgeous warmth of ‘Generadora De Reyos’), enveloping beatless soundscapes (‘Templos Del Sol’, a drowsy drift in becalmed waters under the heat of the mid-afternoon sun), and dubby, loved-up lusciousness (‘Mokono’).

As the album progresses, bobbing and weaving on an ocean of vibrant chords, pulsing melodies and heart-stopping melodies, there’s no sign of Newby’s inspiration waving. ‘Alma Hablando’ channels the spirit of mid-80s ‘worldbeat’ and douses it in layers of Balearic bliss, while ‘Extrensor Entragado’ recalls the head-nodding haziness of his best Gripper productions of old while combining them with the musical equivalent of a humid summer breeze. Then there’s the mood-enhancing joy of the album’s superb title track –a mission statement of sorts – and the life-affirming post trip-hop/Balearic fusion of ‘Un Placer Celestial (Reprise)’, where the influence of his old friend Aim is clearly evident.

A serious sonic step-up from its predecessor and a future Balearic classic in its’ own right, Ondas Horizontales marks the start of a new musical and personal journey for its creator. It is, in his words, not the end of an era, but the start of a new one.

Tibi Dabo unveils his long-awaited full-length ‘Vista’ on Crosstown Rebels this September, with the kaleidoscopic nine-track album showcasing his diverse and rich sound palette.

Born in Barcelona, DJ, producer, and musician Tibi Dabo has proven himself adept at mixing the classic and the cutting-edge. From his early days touring Europe and the US with a band in which he plays the drums, the foundation for his experimentation for his work within the electronic sphere, he has since grown to become an exciting and much-loved DJ and producer, adding to his growing reputation as a Crosstown Rebels favourite. Stepping things up once more, his spirited new album ‘Vista’ is a perfect fusion of futuristic synths and compelling house grooves, all of which are masterfully designed and full of character. Following three well-received singles across the summer, the full-length is a complete sonic statement that explores deep house, leftfield sonics and widescreen cosmic vistas.

Opener ‘Water Is’ layers up fresh sound sources and playful melodies on nimble basslines that soon make you move. ‘Somewhere Beach’ is then a silky groove layered up with diffuse pads and aching synths that convey real romance, while ‘Licht’ is another masterful display of original drum programming with bursts of cosmic synth and elastic bass. ‘Useless Ideas’ then gets deeper on more low-key drums and bass. Instead, the focus is on the deft percussion and well-treated vocals that swirl and smudge around the mix to a woozy late-night effect.

The elegant ‘Mundo’ channels the machine soul of early Detroit techno, before ‘Mangabeira Manifesto’ featuring Dudu Bongo layers up wonky drums and bass with curling, soft acid sounds and a playful vocal line. ‘Triple Frontier’ picks up the pace and heads out on a high-speed cosmic house journey, all before ‘Overture’, another far-sighted astral trip with starry melodies and rich, rubbery bass, closes the package in fine style.

An expressive and adventurous yet coherent long player with a range of moods, feelings and grooves taking you to all corners of the house world, ‘Vista’ showcases Dabo’s most in-depth project to date and an album which provides the perfect platform for him to display his rich sonic universe.

Known principally as a smooth titan of blue-eyed soul, Bobby Caldwell transcended genre tags with consummate ease; he was a musical icon of real class and versatility, cherished the world over. Tragically passing away in March 2023 at the too young age of 71, it still feels as if Bobby's true artistry is profoundly under-appreciated. His double platinum self-titled album from 1978 is a timeless masterpiece of sophisticated jazzy soul brilliance and is strictly canonical. Yes, it's perfect, yet it's been out of press on vinyl for years. We're deeply honoured to present the long-awaited reissue this summer.

Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted.

String-swept opener "Special To Me" immediately sets the tone with its lush instrumentation, rich harmonies, and Caldwell's velvety-smooth vocals. Next up, a huge one. The infectious, mid-tempo bounce of "My Flame" showcases Caldwell's ability to effortlessly blend catchy pop hooks with soulful arrangements. It's an exquisite, emotive ballad that, at the same time, absolutely SLAPS. Game recognise game, and all that, so, accordingly, Notorious B.I.G. memorably ran with “My Flame” for his 1997 single “Sky’s The Limit”. The rolling, disco-very "Love Won't Wait" is a slick, uptempo track containing heartfelt lyrics intertwined with elegant strings and a horn section to die for. Aching - and achingly cool - single "Can't Say Goodbye" is a real fan favourite, and it's no surprise. It's a laconic, slow-mo jazz-funk stepper, with fantastic, very deliberate playing that closes out the A Side quite exceptionally. "Come To Me" slows proceedings down elegantly to open Side B before the universally agreed-upon masterpiece enters proceedings.

"What You Won't Do for Love," the standout hit that became a classic in its own right, perfectly captured Bobby's ability to infuse a contagious groove with introspective and relatable lyrics. With its instantly recognisable horn riff and Caldwell's soulful delivery, this timeless, chiller anthem continues to captivate audiences and define his musical legacy. He scored huge with the track, taking over the pop and R&B airways with this mellow soul stepper. It has remained a perennial favourite and has been heavily sampled, such is its unique allure; Aaliyah sang over snatches of it on "Age Ain’t Nothing But A Number" and you can hear Caldwell’s vocal sample used for the hook on Tupac’s posthumously released “Do For Love”.

Upon submitting the finished album to his label, they requested more material in hope of a big single. As Bobby remembered to Wax Poetics a few years ago: “Now at this point, I’m mentally exhausted...and bear in mind that I got so close to all the songs I’d written. I gave each song a profound amount of thought, and maybe too much. So, in haste, I went in and cut this song, "What You Won’t Do For Love". Wrote it in a day, cut the rhythm track, overdubbed the horns, I sang the song, and literally turned it in three days after. And lo and behold, the one song I gave the least thought to,” Bobby laughed, “ended up being a national anthem.”

The mysterious, magical "Kalimba Song" is a cosmic, kalimba-driven melodic-funk instrumental - short but oh, so sweet. It's followed by the supreme tear-jerker "Take Me Back To Then", Bobby's otherworldly voice deeply longing for a simpler time, "when life was mellow". I think we can all get behind this sentiment. The final cut is arguably its deepest, its low-key finest moment. For us, it is, anyway. The glorious, driving, effortlessly funky guitar-soul jam "Down For The Third Time" is a huge melancholic Be With favourite and has been played by discerning genre-hopping DJs with significant glee for years. Hypnotic, melodic, beautiful. Like the album it elegantly rounds out.

Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of his wonderful eponymous album will be available on vinyl across the globe, ensuring that fans of his incomparable talent - and soul music enthusiasts worldwide - can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland.

Predominantly known as the musical genesis of eventual home 4 track folk pioneer Linda Smith, The Woods' organically experimental blend of folk style and pop sensibilities epitomize 80s NYC underground music

Included here is their lone 1985 single plus a full album's worth of previously unreleased recordings and a booklet filled with liner notes and ephemera