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The highly-anticipated third studio album from critically-acclaimed singer-songwriter Greyson Chance, released through Lowly. Available on black vinyl with gatefold sleeve, featuring "My Dying Spirit”, “Homerun Hitter,” "Athena" & more.

“The album comprises three acts," says Chance. "The first one is rebuilding and growth. The second is absolute pride. The third is a realization. Life will kick you in the ass no matter what happens. It feels timid at points, but there are big confident moments. At the end, the hero falls down a few pegs. I’ve been writing my own songs since I was a kid, and that’s the story behind it.”

Back in stock on Orange Vinyl !


Dynamite Cuts 45s series is proud to release two Funk n Soul super-sassy, sexy KILLERS by 9th Creation both taken from the mega rare LP “Bubble Gum”.
Both tracks are first time on 7” vinyl “Bubble Gum” b/w “Rule of mind” Massive hip-hop samples and rare-groove club tracks. This release will be in two parts black vinyl x500 and a limited x150 numbered Orange vinyl
A – “Bubble Gum” – Hip Hop; sexy, dirty funk, classic rare groove. Just the Real Thang….genius track. Sampled by ‘Pete Rock and C.L. Smooth’; also, by ‘Artefacts’
B – “Rule Of Minds” – Mid-tempo funk n soul groove, with soulful vocals, and a classic sample. What more do you need for First time on 45?Sampled by 3rd Base; Black Moon and The Alchemist

It’s been seven strange years since The Veils’ last studio album Total Depravity, and Finn Andrews has a new double LP to show for it. "...And Out Of The Void Came Love" is the result of this tumultuous period of injury, isolation and new life...

Following the release of Total Depravity, Andrews released a solo album and began a worldwide tour. One night, while lashing out at a particularly intense moment on piano, he broke his wrist on stage. “It sounds wild and Jerry Lee Lewis-esque, but it was an absolute fucking nightmare,” Andrews says. He played on and finished the rest of the tour, but it wasn’t until he got it examined much later that he realized what a bad move that was. “The scaphoid bone in my wrist had died, which I didn’t know was possible. My sister said that at least it was a really ‘on brand’ injury for me.”

Finn’s convalescence meant a lengthy hiatus from touring, so he did what he does best and stayed at home and wrote songs. “I was in a cast and couldn’t use my right hand. I sang the melody lines, then recorded the right hand piano part, then the left hand part. It might have been an interesting, avant-garde process if it wasn’t also just profoundly annoying.”

Just when his hand had healed sufficiently for him to play again, The Veils found themselves in need of a new record label but Finn set about starting to make a new record regardless. Producer Tom Healy invited Finn to his small studio underneath the old Crystal Palace ballroom in Mount Eden, and they listened through the legions of songs he had amassed throughout the previous year.

“Tom was incredibly patient, it was a really laborious process - I brought a lot of junk down there and we had to sift through it all to try and find the parts worth saving.”

Following another two years of intermittent recording between lockdowns, Finn’s wife became pregnant, and yet more songs started coming.

By the time the songs had been recorded, it was clear that arranging the album into two halves best suited such varied material - but the meaning of the songs as a whole still eluded Andrews. “Then my daughter was born, and suddenly the whole record made sense to me,” he says. The music was telling a story, and somewhat strangely for The Veils, it seemed to have a happy ending.

The result of all these years of questioning, confinement and precarious uncertainty is the magnificent new double album from The Veils … And Out Of The Void Came Love. It is an album intended to be listened to in two sittings with a short break in the middle, or as Andrews instructs: “Make a coffee or smoke a cigarette – but don’t mow the lawn or go to the movies or something, that takes too long.”

Composer Victoria Kelly’s soaring string arrangements play an integral role in bringing the songs to life, as do musicians Cass Basil (bass), Dan Raishbrook (lap steel, guitar), Liam Gerrard (piano), Joseph McCallum (drums) the NZTrio and special guests the Smoke Fairies on backing vocals.

“Refreshingly passionate… Andrews rages with a Herculean intensity.” The Guardian
“Horse-whipped, lightning-crash clamor… magnetic.” Pitchfork
“One of the finest songwriters of his generation.” Drowned in Sound

Heist welcomes Belgian house maestro UC Beatz to the label with a 5 track EP featuring Marina Trench and Tour-Maubourg.

UC Beatz is a man who likes to do things his own way. You can hear it in his distinctive sound, but it also goes back to when he started producing and putting out records. If he would have asked us for advice back then, we would have definitely tried to talk him out of starting a record label without a good distribution deal. The hours of work to get the records made, printed and stamped is one thing, but going from shop to shop to sell your work, just because you believe in it? That’s just mad.

Thankfully, Belgian producer, DJ -and yes, label owner- UC Beatz didn’t ask our opinion when he started Entrepot Records in 2014 and we’re glad for it. It’s been a total success story for him and an inspiration for independent artists all around. His releases quickly gained momentum, all sold out in weeks and with that, helped him establish his name as stylish deep house producer with his own sound.

Fast forward to 2023, and we find UC Beatz on labels such as Classic Music Company, Razor ‘n Tape and now we’ve his debut on Heist for you. There’s no need for him to go from shop to shop this time, because we’re sure people will jump on this record the minute it hits the shelves.

UC Beatz delivers a stunning 5 track EP with guest appearances from Marina Trench and Tour-Maubourg. The EP sees the artist go from euphoric sample house (Orchid’s Wish) to his classic pad-driven sound on tracks like Purple Corner Fig and Blu Thang. The EP would be good without the collabs, but UC Beatz found a perfect match in style with fellow Heist artist Marina Trench on ‘Make me feel’. His co-production with Tour-Maubourg sees the duo dive deep into a classic Chicago deephouse vibe and deliver the most ethereal track of the EP.

Yours Sincerely,
Maarten & Lars

Soundway releases a storming compilation of Cameroonian-born, Nigerian-based super producer Nkono Teles’ solo work.
The pioneer of West African electronic music was known for being tapped by over 100 other musicians to produce or arrange their music, from King Sunny Adé, Guy Lobe, even Steve Monite’s
album “Only You” and more. Having already appeared on Soundway’s best-selling compilation “Doing It In Lagos”, here more of Nkono’s
limited solo work is carefully remastered and reissued on
vinyl for the first time. One of a small handful of pioneers of the Nigerian electronic music scene in the 1980s (alongside the likes
of Jake Sollo & William Onyeabor), Teles was known for being tapped by over 100 musicians to feature on, produce or arrange their music. The list of ‘80s Nigerian records that his sound and style embellished
is seemingly endless: Steve Monite (he arranged and produced the music on the Only You album recently re-issued by Soundway), Dizzy K, Peter Abdul, Odion Iruoje, Steve Black, Rick Asikpo, Feladey, Charly Boy, Majek Fashek & Sonny Okosuns, to name just a few,
all engaged his enigmatic production and keyboard services throughout the 1980s. He became known as the first person in Nigeria to push the use of the drum machine into popular music and created a unique and original boogie-funk sound combining these new
beats with guitars and an array of new and affordable synthesiser sounds that started appearing in the early 1980s.

Raising the bar yet again, Night Owls' first single of 2023 lays yet another set of classic soul songs on you, flipped into the band's signature style. On Side A we find The Flamingo's beloved Doo-Wop/soul hit from 1959, "I Only Have Eyes For You," re-imagined to wind your waistline with Night Owls' longtime friend and collaborator - the one-and-only Chris Dowd from Los Angeles' legendary Fishbone on vocals. Known for tunes like "Pouring Rain" and "Everyday Sunshine" Dowd brings his signature soul drenched delivery with a hint of rude boy grit to match the rhythmic and tonal stylings of the group. Wanting to take things to the next level, producer Dan Ubick called in veteran underground Jamaican legend Tippa Lee (Stones Throw, Dub Club, Jammy's, Greensleeves, etc.) to sprinkle his magic rasta dust on top and deejay/toast on the track and the results are burning hot.

But wait, that's not all!! On Side B we find the beloved beat diggers classic "Live And Let Live," originally performed by Jimmy Jones in 1970 on Deke Records out of Chicago. For the Fender Rhodes-driven reggaefied version here, Night Owls roped in another longtime friend - Los Angeles kingpin and mover ’n' shaker, "Music Man" Miles Tackett to add his soulful vocals to the track and it's as buttery as cornbread from Cracker Barrel! Tackett is the mastermind behind globe-trotting funk/soul collective Breakestra (of which Night Owl Dan Ubick was a member) and legendary weekly L.A. dance parties like Funky Sole, Root Down and The Breaks. This side also includes Destani Wolf, who many will remember was featured on Night Owls’ version of “Let’s Stay Together”, providing the beautiful ‘verbed out backing vocals.

Oliver Cherer is back with a new Gilroy Mere record which follows on from his other much lauded Clay Pipe releases (The Green Line, Adlestrop and last year’s D Rothon collaboration, Estuary English).

Over the last two decades Ollie has released numerous collections of music in an ever shifting array of modes, from folktronic, singer-songwriter styles through psychogeographic electronica to jazz-tinged, confessional ghost-pop and most recently, the “guitar tainted machine rock disco” of Aircooled.

Gilden Gate is an album of two halves. Side 1 ‘Rising’ celebrates the sun-drenched beaches, pastures and heaths of rural Suffolk, whereas Side 2 ‘Falling’ explores the underwater world of the lost city of Dunwich and its five church spires.

Oliver says:-

“A few years ago I discovered the lost city of Dunwich. I’d made a trip to Suffolk to shoot a short film about Sizewell Nuclear Power Stations and stayed in the old Coastguard’s Cottage on Dunwich Beach within sight of Minsmere Nature Reserve and the power plants. It’s a wild, sleepy place of pines and heath and North Sea winds and a strangely mysterious air – Sutton Hoo is nearby and Eno’s reference to the very beach that I was staying on made perfect sense. In the small museum at Dunwich I learned that this tiny hamlet had once been a major medieval city of international trade. It seemed unlikely and even now, knowing Dunwich as a small village, I find putting what I know about the place into perspective as a city a certain kind of impossible.

It seems that over a period under the influence of the weather, natural erosion and market rivalry the thriving harbour port was inundated by the North Sea and eventually slipped into and under it. The city of churches was lost and all the spires engulfed and toppled. What remains are the few houses, and the ruin of Greyfriars crumbling inexorably down the cliff and exposing the bones of buried monks as the graveyard follows the building’s stones into the sea.

There are local legends surrounding the site including stories of fishermen hearing the bells of lost churches and seeing the ghostly, lighted city beneath their boats as they return to the shore.
Gilden Gate is named for one of the entrances to the old city and is a musical meditation on Dunwich past and present. Frances Castle’s beautiful sleeve art depicts the surface and the sub-marine, the warm and the cold, the past and the present. The glass rises and the glass falls and in the background there are sirens, fog horns, church bells and Eno, and on the sea bed there are the scattered remains of a once great city.”

Gilden Gate is named for one of the entrances to the old city and is a musical meditation on Dunwich past and present. Frances Castle’s beautiful sleeve art depicts the surface and the sub-marine, the warm and the cold, the past and the present. The glass rises and the glass falls and in the background there are sirens, fog horns, church bells and Eno, and on the sea bed there are the scattered remains of a once great city.”

Metro is one of the most recognized underground rap producers. He has already collaborated with Guilty Simpson, Wildchild, MED, Oh No, Rakaa, DJ Babu and Percee P to name just a few.

The album "Blunted Fusion" 2LP is his most refined album. This time without guests - only sophisticated samples, cuts and fat beats.

Plus amazing graphics designed by SewerX. This is the most beautifully released album in the 21-year history of JuNouMi Records.

Never released before recordings from Logos Foundation live sessions at Logos Foundation, January 3, 1981.

The music is free-improvisation - that is we make our music co-operatively while playing : by listening, reacting, throwing in new ideas, not by following preplanned schemes. At its simplest the group's intention can be said to be to play together as well as possible and to enjoy ourselves while doing so. We are very interested in the result and intend that the audience is as well. As well as the musicians reacting to each other the music itself is pretty reactive to context. In other words room acoustics, background noise, audience response have a strong effect on what happens. This is particularly true of the audience. We have done performances where conversation has broken out with some audience members. There is much to see as well as hear - this is partly to do with the instruments. Together Terry, Steve and David have hundreds, all sizes, all sorts, most colours. They completely cover the floor. Many of these are non-western. The wide range of instruments means that an extremely broad sound spectrum is covered, from sudden bangs to very quiet low notes, from squeaks to normal guitar sounds. This is what fixes the overal group sound.

David Toop: Flute, home-made reeds, percussion Peter Cusack: Guitar Steve Beresford: Piano, Small Instruments Terry Day: Percussion, home-made reeds

Logos Foundation, located in Ghent, is a unique professional organisation for the promotion of new music and audio-related arts by means of new music production, concerts, performances, composition, technological research and other activities related to contemporary music. This organisation has been founded in 1968 by Godfried-Willem Raes.

“These things happen,” says K. Leimer of LUYU. Listen Until You Understand is a test drive through an obstacle course designed for new instruments, arrangements, juxtapositions, and real-time experiments dedicated to leaving the original impulses untouched and unadorned. Joined at times by digital percussionist Dolphie Stein, the music throws itself against itself without loyalty to genre or form, mashing granular particles into a tremulous spectrum of soundwalls, transitions, noise, distortions, and the occasional clearing. As close to live improvisation as one can get in a multitrack studio setting, LUYU takes generative techniques and drops them into short-form events by building its soundstage in thickets of shifting elements, collapsing phrases, broken signatures, and implied patterns. An outlier in Leimer’s catalog of general stillness and subtle detail, LUYU revels in the bare sound of things usually hidden in the mix.

Kerry Leimer founded Palace Of Lights in 1979. Leimer’s work has also been issued by Abstrakce, Autumn, First Terrace, Les Giants, Invisible Inc., Origin Peoples and RVNG. His work is included in the Cherry Red Noise Floor compilation series and his early cassette work is featured in the critically acclaimed VOD box set American Cassette Culture. Leimer has been actively producing music since the mid 1970s—his current catalog includes twenty solo albums plus collaborative albums with Savant, Marc Barreca, and Three Point Circle. Recent soundtracks include work for video artists Cristiane Bouger and Fred Birchman, HBO’s How To With John Wilson and the Netflix documentary John Was Trying to Contact Aliens. His work is included in the collection of The British Library.

You reach a point in life where the question of how to stay at the top of your game looms; the only real solution being, you change the game. Our Love, the new album from Caribou, is the sound of Dan Snaith doing just that. Our Love is due October 6th on City Slang and is the sixth studio album from Caribou. The album features collaborations with Jessy Lanza and Owen Pallett. It was mixed by David Wrench and features artwork by Jason Evans/ Matthew Cooper.

Our Love is formed around a mixture of digital pop production, hip hop inspired beats, muted house basslines and a love of shuffling garage that can be traced all the way back to the time of Start Breaking My Heart which are, of course, all filtered through Dan's own unique perspective. The warm analogue sounds of classic soul should not be overlooked either, for they weave themselves most intensely into the records DNA. In fact, Our Love is probably Caribou's most soulful record to date, chock-full of heartfelt lyrics and organic nature which cuts through bubbling synths and blissful euphoria of their synthetic constructions. It's not all downbeat of course, whilst some thoughts linger on mortality, loss and letting go, there is always an element of celebration.

Having followed up his Polaris Prize winning 2007 record Andorra with the universally adored Swim in 2010 (selling nearly 175, 000 copies worldwide and being named 'Album of the Year' by Rough Trade, Mixmag and Resident Advisor whilst also hitting The Guardian, Pitchfork, Spin and Mojo's Top 20), Dan has spent the intervening four years not only touring the world, bringing not only the sounds of Caribou to the stage but proving his immeasurable worth as a DJ with epic 7.5 hour long sets. In 2012 Caribou were personally invited to join Radiohead on the road whilst Dan released his first album under the guise of his dance floor loving pseudonym, Daphni, to widespread critical acclaim. Following the shape shifting sounds of JIAOLONG and the brightly textured, fluid constructions of Swim - both inward looking records in their own way - Dan withdrew to the basement once more to work on Caribou's next opus. Only he didn't: Our Love isn't the sound of isolated creation but the sound of Dan at his most connected - with love for his listeners, his collaborators and those closest to him.

"Dans cent ans" is not a record: it’s a talisman.
Flavien Berger doesn’t make music, he makes time machines.
In 2015, he released his first album, Leviathan, which he’d imagined like a moment suspended into the bowels of present time.
In 2018, Contre-Temps, his critically acclaimed second album, was narrated like a flashback.
Dans Cent Ans (“In 100 Years”) ends this trilogy and launches into the future with the grace of a poisonous serpent.
Flavien had just finished producing Pomme’s last album and was simultaneously scoring Céline Devaux’s feature film Tout le monde aime Jeanne, when he recorded this album, during six months of isolation.
In the garret of a Belgian house in construction, these 12 tracks were born, close to the sky, both direct and mysterious.
Because Flavien Berger knows how to make machines sound sensual (a key example is the pop song “D’ici là”) and dares to interweave electronics, chanson and art music, organic instruments and synthetic choirs, without ever falling into parodic territory.
Because his voice, more precise, unreverbed, and close-mic’d than ever, sings to our ears – using multisyllabic rhymes (“Trop ivres pour te plaire / Tropiques du cancer”) and surrealist imagery (“la neige restera rose” – “the snow will remain pink”) – stories that feel unknown yet obvious.
And like both previous albums ended with a long eponymous track like a breath of air, “Leviathan” and “Contre-temps”, so does “Dans Cent Ans”, a 15-minute long saga where vocals, wind instruments and machines converse, as if Debussy, Etienne Daho and a Sufi Dervish met in a dream.
After listening to this album, the vertigo of love and the collision of times are one and the same.
In one hundred years, music will survive us all, and its dangerous beauty will awaken other lives. In the meantime, Flavien Berger keeps stunning ours.

'Unconscious Collective' is the first album by PS5 - the new ensemble led by Pietro Santangelo (Nu Guinea, Slivovitz, Fitness Forever) - and it will be out for Hyperjazz Records on 21th May 2021.

It's a musical experiment where layered memories and hidden feelings resonate as if they arise directly from the most recondite part of the unconscious and produce a suspension of the stream of consciousness. With the aim to create a state of trance and override the human reason, this is an imaginary round trip across the Mediterranean Sea and the Atlantic Ocean, ideally connecting Naples with North Africa and Latin America.

The arrangements wrote by Santangelo are based on great freedom of improvisation: while the melodic textures of the two saxophones didn't give any clear references, the other musicians followed the rhythmic pulse and its unpredictable ways. The music moves naturally along an imaginary line highlighting the ancestral connection between Jamaica and Ethiopia or between Nigeria and Cuba. In the background, Naples is a synthesis of all the sonic ingredients, mixed and cooked in its own mystical and spicy belly.

Besides Santangelo himself on the tenor and soprano saxophones, the collective is made up of: Paolo Bianconcini, a brilliant Neapolitan percussionist with a very deep Afro-Cuban background; Giuseppe Giroffi, young and talented alto and baritone saxophonist; the bassist Vincenzo Lamagna and the drummer Salvatore Rainone, both loyal members of the former Santangelo's trio.

Recorded live at the Auditorium Novecento in Naples, the legendary studio of Phonotype Records, 'Unconscious Collective' is mixed in analog format by Fabrizio Piccolo, and mastered by Davide Barbarulo at his 20Hz20KHz Studio.

Pietro Santangelo

Pietro was born, lives and plays in Naples. As a saxophonist and composer, he has released five albums with Slivovitz and one with his PS3 trio (Clinamen, Emme records 2017). Graduated in Digital Sound Processing at the Faculty of Physics of Federico II University, he is involved and engaged in the Italian scene of radical improvisation (Franco Ferguson, Elio Martusciello and Officina Arti Soniche, Collettivo NISE).

Multi-instrumentalist since forever, he has collaborated with Nu Guinea, Enzo Avitabile, Fitness Forever, Marzouk Mejri, Dennis Bovell and many others.

He's also author of soundtracks and electronic musician. He appreciates analog photography, loves walking outdoors. He hates biographical notes.

A lot can happen in ten years.

Rewind back to Gateshead in 2008 - the producer Smoove is round his friend and keyboard player - Mike Porter's house. Together they are working on tracks for his project and all of a sudden they hear a heavenly voice from the neighbour. Transfixed by the vocals that are caressing their ears they go and investigate to find a youthful John Turrell doing his thing at a practice with a local band he played with when he wasn't teaching carpentry at the local college. Together they woo him with their Geordie charms and the initial line up of 'Smoove & Turrell' is born. The group instantly gel and soon after have penned the killer track 'I Can't Give You Up'...

Flash forward to 2019 and the carpentry community looks on with jealousy as the group has gone from strength to strength. Signed to the independent label Jalapeno Records they are now five albums deep and they have achieved multiple radio-playlisted singles, won awards, toured with the likes of Chic, gained sync success across the world and continue to wow venues in all continents with their thrilling live shows on the regular.

All of this in an age where attention spans are shorter than ever and there is more access to music than ever. This is certainly an achievement worth celebrating. Doubly so in fact as not only is it their ten year anniversary collection but also it is the 300th official release on Jalapeno Records so it only seems right that the occasion gets commemorated properly - a double gatefold LP with brass coloured vinyl somehow seems appropriate...

Comprising of 18 tracks taken from all five of their studio albums as well as two new barnstorming tunes exclusive to this release - it's a veritable feast of northern funk gems from start to finish. Favourites from their deep catalogue including 'Slow Down', 'Beggarman', 'In Deep', 'Have Love' and 'You Could've Been A Lady' are all present and correct, lining up next to the two newbies which also hold their own.

"But what about the new tracks!" we hear you cry - well Smoove's solo rework of The Spencer Davis Group - I'm A Man is the stuff of legend with physical copies changing hands for huge sums (if you are lucky enough to be able to locate one in the first place!). The track has long been a staple of S&T live sets but they've never laid it down in a studio recording... That is until now. It's a monster of a tune and the perfect way to kick proceedings off on this record.

That's not all though, as the lads also serve up the aptly reflective 'Give it Back'. It's signature Smoove & Turrell stuff - full of soul with deep and heartfelt lyricism. Turrell's chorus refrain "We love the ones who give it back" is typically honest and true of a band that prides themselves on community. Proper canny that. Proper canny.

Miles Away Records are extremely proud to introduce our latest single by the incredible Howard Lemon Singers. You Are Somebody and For The Children are two blinding tracks cherry-picked from the incredibility rare 1977 album Seasons released on the legendary TK Records subsidiary Gospel Roots.
Both sides of this 45 are oozing with positivity and good sentiment, a fine example of the harmony between sacred and secular sounds, and the experimentation taking place, during the late 1970s as gospel artists were modernizing the soundtrack, and lyrical content of gospel music..
You Are Somebody is a gorgeous modern soul heater. Accomplished vocalist Esther Smith's sublime voice delivers her vocal lines with such confidence and assurance that the words seem to strut over the funky basslines and drumming support. Flip it over and For The Children is a more mid-tempo burner, but don't let this fool you - it's "stop-you-in-your-tracks" good. Smith's vocals once again shine brightly and are delightfully accompanied by the Nile Rodgers-esque 'wacka-wacka' guitar of Lester Snell throughout. Musicianship is of the highest quality as Howard Lemon, group leader, called upon some of the best musicians from STAX Records – Willie Hall and the aforementioned Lester Snell were key components of such groups as the Isaac Hayes Movement and the Bar Kays.
These two nuggets are presented here for the first time on a 45 and complete in our customary teal green labels and sleeve. Remastered and cut by Timmion.

Paolo Aniello FKA New Digital Fidelity returns one final time since his last appearance on Italian Synth Planetarium – Sistema 1 in 2020 and readies some serious and sexy goodness for 2023.

“Gonna Touch The Sky” marks his debut on Moods & Grooves and there is no doubt that it will literally make you touch the sky! The EP opens with the reshape from none other than deep house legend Fred P. When it come to (ultra) deep house beautiness, Fred is the real don. Melodic, dreamy and groovy. Simply what you would expect from him and what he does best.

To follow is the original mix, awash in syncopated tribal rhythms, gorgeous female vocals and a rich tapestry of ethereal pad. “Gonna Touch The Sky” is a dancefloor-pleasing Afro house cut à-la Ron Trent/Trinidadian Deep featuring Sasha Paige on lead vocal and Rhia Reneè on background vocals that bubble over a deep, tribal groove.

On the flip, “Make Up Your Mind” takes tribal rhythms to a new, more mental level. It’s an Afro-Chi-meets-Detroit affair. The percussive rhythms and energy that constantly interplays with the synth line create an uplifting basement tune that could safely run at opening, peak time, or closing time. Last but not least, “Horizon” speaks for itself. It will definitely transport you to new horizons, toward a tropical beach at sunset, closing this incredible journey.

The year is 1999 and The Neptunes (Pharrell Williams & Chad Hugo) are working on a new track fo Wu Tang Clan Member, Ol’ Dirty Bastard’s new album. The track in question, “Got Your Money”, w
an unexpectedly poppy, upbeat and melodic track that would go on to have global success.

Buried within the multi-track recordings of the ODB’s hit track is an acapella by Pharrell, recorded early in the tracks production. Bringing his own laid-back style and flow, but keeping to the narrat of ODB’s track, Pharrell delivers a secret version of the track, few will have heard.

Alloy Cuts delivers two versions of Pharrell’s hidden bars, mashing up one side with Montel Jordan “This Is How We Do It”, giving the track a more golden era sound and on the flip side the classic ragga riddim, the “Snake Riddim”, is used to great effect!

Grammy-winning artist Kali Uchis’ new English language album, Red Moon In Venus, is slated for release on March 3 via Geffen Records. Uchis went into the recording process intending to create an album that felt timeless, one that can be enjoyed any time and any place and will remain meaningful throughout the years to her and her fans. Red Moon In Venus floats between soul, R&B, pop, música urbana and more experimental textures. The result is an album that, as Uchis has come to perfect throughout her catalog, transcends genre or classification, a pure reflection of her soul.

"Dans cent ans" is not a record: it’s a talisman.
Flavien Berger doesn’t make music, he makes time machines.
In 2015, he released his first album, Leviathan, which he’d imagined like a moment suspended into the bowels of present time.
In 2018, Contre-Temps, his critically acclaimed second album, was narrated like a flashback.
Dans Cent Ans (“In 100 Years”) ends this trilogy and launches into the future with the grace of a poisonous serpent.
Flavien had just finished producing Pomme’s last album and was simultaneously scoring Céline Devaux’s feature film Tout le monde aime Jeanne, when he recorded this album, during six months of isolation.
In the garret of a Belgian house in construction, these 12 tracks were born, close to the sky, both direct and mysterious.
Because Flavien Berger knows how to make machines sound sensual (a key example is the pop song “D’ici là”) and dares to interweave electronics, chanson and art music, organic instruments and synthetic choirs, without ever falling into parodic territory.
Because his voice, more precise, unreverbed, and close-mic’d than ever, sings to our ears – using multisyllabic rhymes (“Trop ivres pour te plaire / Tropiques du cancer”) and surrealist imagery (“la neige restera rose” – “the snow will remain pink”) – stories that feel unknown yet obvious.
And like both previous albums ended with a long eponymous track like a breath of air, “Leviathan” and “Contre-temps”, so does “Dans Cent Ans”, a 15-minute long saga where vocals, wind instruments and machines converse, as if Debussy, Etienne Daho and a Sufi Dervish met in a dream.
After listening to this album, the vertigo of love and the collision of times are one and the same.
In one hundred years, music will survive us all, and its dangerous beauty will awaken other lives. In the meantime, Flavien Berger keeps stunning ours.

After spending the past 20 years in the studio, on concert stages all over the world and at the literal top of the charts, All-American Rejects co-founder Tyson Ritter didn’t start Now More Than Ever in 2018 with the expectation it would turn into a real band – but a real band is very much what it has become. In tandem with veteran musicians/songwriters/producers Scott Chesak (All-American Rejects, Panic! At the Disco, Weezer) and Izzy Fontaine (Taking Back Sunday, Tegan & Sara, Glassjaw), Ritter has begun a meaningful and exciting new chapter in his music career with Now More Than Ever’s debut album Creatrix, which will be released March 17, 2023, by Thirty Tigers. Now More Than Ever shimmers with that spirit of freedom, its nine tracks gracefully surfing the peaks of the past four decades of pop and rock. These are the kinds of songs that used to be on the radio and certainly still should be today – the ones that make you dance, shake your ass and forget about everything else for a while. Now More Than Ever is here to help make sure the pillars of pop and rock will never fall, and they’re prepared to go down believing. “This is our little monolith,” Ritter says. “It might be six feet tall amongst giants, but it’s pure. And it’s truth for us. It’s saccharine as fuck, and I love it.”