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God Alone are a 5 piece math/noise rock band hailing from Cork, Ireland comprised of students of the CIT Cork School Of Music. They combine the dense atmosphere of post metal with elements of indie, hardcore, jazz and dance music. They self released their debut EP "INTIVIM" in late 2016 to critical acclaim and subsequently released their first full length release: titled "Poll na mBrón”, an album based on events and stories from Our Lady's "Hospital" of Cork. Shortly after the release of their debut full length, they returned to the studio to create their most eclectic mix of sounds yet: their sophomore self titled EP, released in November 2019 which enabled them to embark on their first Ireland and UK headline tour. They have played numerous Irish festivals including Townlands Carnival, Monolith Festival and the Siege of Limerick and were recently crowned winners of the "Mammothfest Best Band Competition" of Mammothfest in Brighton, beating 200 bands across Ireland and the UK who battled through the heats. They are also currently booked to appear at ArcTanGent 2022 in the UK. Their self described "sad metal with some dancey bits" heard on their first single release "Dagda" has been described by Overblown as "a blast of visceral fury and dance floor filling interludes". They have been featured and interviewed on numerous media platforms including Hot Press, Totally Cork, Kerrang and Metal Hammer. Their latest release will see them push the boundaries of metal even further, until it cracks. "The band’s new self-titled EP hits that sweet spot in a way that makes God Alone memorable from the get-go." - KERRANG. “God Alone that you realize what makes the next generation of metal bands so special." - METAL HAMMER.

European Blues Award-winning guitarist Erja Lyytinen returns with her
new studio album, 'Waiting For The Daylight'

‘Funny Looking Angels’ is the debut album by Smith &
Burrows, reissued on special edition picture disc
exclusively for National Album Day 2022.
The band, made up of Tom Smith (Editors) and Andy
Burrows (Solo, I Am Arrows, Razorlight, We Are
Scientists), released their Smith & Burrows debut in
November 2011, a Christmas album combining original
recordings and four covers - ‘Only You’ by Yazoo,
Black’s ‘Wonderful Life’, ‘Funny Looking Angels’ by
Delta and ‘On and On’ by Longpigs.
This double-sided picture disc features the iconic
wings of the album cover and the Smith & Burrows
logo respectively. A fan favourite and a staple for
rotation at Christmas.

Durty Geeks are a band at the boundary between Soul, Funk and Hip Hop born in 2013. The lineup is quite uncommon in the Italian
music scene, despite the usual four elements: Federico “Piezo” Pezzotta, on the electric piano, keyboards and synths; Francesco “Frenz” Crovetto, founding member and drummer of OTU; Gregorio "Greg" Conti, bass player also part of Verbal and Bangarang!; Edoardo “DJ Edo” Fumagalli, on the turntables and samplers.

The Durty Geeks sound universe is an illegitimate son of Hip Hop, but without the main element ‐ the voice ‐ replaced by scratches and
samples. This produces an instrumental form that winks at the American soul and funk of the 60s and 70s, as well as the Italian compo‐ sers who in those same years signed cult movie soundtracks: Piccioni, Nicolai, Bacalov, Trovaioli to name a few.

From “La Dama Rossa uccide sette volte" to "The Mack", the sound flows like a second feature film screening. A sequence shot that
does not indulge in the past but that leads straight into modernity thanks to the more contemporary interventions of synth and scrat‐
ches, and to sporadic experimentations in electronics.

The first EP "We Gun Make It" was released in 2014, an exploration of the american imaginary linked to weapons, between urban and
rural contexts, containing 3 tracks, self‐produced and printed by CORPOC.

The first full length album is "Also Starring", 9 tracks plus 5 skits mixed by Tommaso Colliva (Muse, Afterhours, Caliber 35 etc.) which
constitutes an instrumental journey through B‐movies filmography, citing cinema subgenres such as wuxia, blaxploitation and italo hor‐
ror.

Red Hot Chili Peppers announce their brand new studio album, Return of the Dream Canteen which will be released October 14th on Warner Records. The surprise announcement was dropped at Denver’s Empower Field to rapturous response as the North American leg of their critically and commercially acclaimed global stadium tour kicked off.

The news of Return of the Dream Canteen's imminent release marks the band’s second album of 2022, hot on the heels of the platinum-selling chart topper Unlimited Love which was released in April debuting at #1 in the UK. It will also be the band's second Rick Rubin produced album of 2022, and reinforces their reputation as a band at their absolute peak, riding the crest of an undeniable creative wave.

Continuing to win over audiences across the generations, the band performed a run of sold-out UK/EU dates earlier this year, including two nights at London Stadium. "A scorching European touch-down from the California legends" – CLASH

We went in search of ourselves as the band that we have somehow always been. Just for the fun of it we jammed and learned some old songs. Before long we started the mysterious process of building new songs. A beautiful bit of chemistry meddling that had befriended us hundreds of times along the way. Once we found that slip stream of sound and vision, we just kept mining. With time turned into an elastic waist band of oversized underwear, we had no reason to stop writing and rocking. It felt like a dream. When all was said and done, our moody love for each other and the magic of music had gifted us with more songs than we knew what to do with. Well we figured it out. 2 double albums released back to back. The second of which is easily as meaningful as the first or should that be reversed. 'Return of the Dream Canteen' is everything we are and ever dreamed of being. It’s packed. Made with the blood of our hearts, yours truly, the Red Hot Chili Peppers.

Die Musik von Surprise Chef basiert auf dem Hervorrufen von Stimmungen; ihre lebendigen Arrangements nutzen Zeit und Raum, um Klanglandschaften zu schaffen, die den Zuhörer in ihre Welt einladen. Der unverwechselbare Sound des Quintetts speist sich aus der Filmmusik der 70er Jahre, der funkigeren Seite des Jazz und den Samples, die die Grundlage des Hip-Hop bilden. Sie verschieben die Grenzen des instrumentalen Soul und Funk mit ihrem eigenen Ansatz, der durch unzählige Stunden im Studio, das Studium der Meister und - vielleicht am wichtigsten - durch die "Tyrannei der Distanz", die ihrer Musik eine einzigartige Perspektive diktiert, verfeinert wurde. Mit ihren ersten beiden Alben All News Is Good News und Daylight Savings haben sich die aus der Nähe von Melbourne, Australien, stammenden Musiker eine eingefleischte Fangemeinde erspielt und ihren Sound von ihrem Heimstudio aus in alle Ecken der Welt gebracht. Die Band ist nun bei Big Crown Records unter Vertrag und reiht sich damit in eine Reihe zeitgenössischer und klassischer Sounds ein, die die Musik von Surprise Chef seit ihrer Gründung im Jahr 2017 beeinflusst haben. Surprise Chef besteht aus Lachlan Stuckey (Gitarre), Jethro Curtin (Keyboards), Carl Lindeberg (Bass), Andrew Congues (Schlagzeug) und Hudson Whitlock - das jüngste Mitglied, das von der Percussion über das Komponieren bis zum Produzieren alles macht. Die selbsternannten "moody shades of instrumental jazz-funk" haben von allem etwas: druckvolle Drums, mitreißende Keys, eine Rhythmusgitarre, die man auf einer Studio One-Platte hören könnte, und Flötenlinien, die von einer Blue Note-Session stammen könnten. Aber wenn man einen Schritt zurücktritt und sich die Gesamtheit ihres Sounds und ihrer Herangehensweise anschaut, dann hört und sieht man eine Gruppe, die mehr ist als die Summe ihrer Teile. In vielerlei Hinsicht verkörpert Surprise Chef die Redewendung "the benefits of limits". Ihre Möglichkeiten waren insofern begrenzt, als es in Südost-Australien nicht viele Leute gab, die instrumentalen Jazz/Soul/Funk machten oder darüber sprachen, geschweige denn Platten herausbrachten. So mussten sie ihren Sound und ihre Herangehensweise in einer Art kreativer Isolation entwickeln, in der sich ein kleiner Kreis von Freunden und gleichgesinnten Musikern gegenseitig befruchtete. "Da wir in Australien so weit weg sind, bekommen wir nur flüchtige Einblicke in die Ursprünge dieser Musik", sagt Stuckey. "Aber als wir ein Label wie Big Crown hörten, wurde uns zum ersten Mal bewusst, dass man frische, neue Soulmusik machen kann, die nicht super retro oder einfach nur nostalgisch ist." Dieser Ansatz ist auf ihrem neuen Album Education & Recreation deutlich zu hören. Tracks wie "Velodrome" verbinden klobige Drums mit einer ohrwurmverdächtigen Synthie-Linie, die so klingt, als würde sie auf einer Ultimate Breaks & Beats-Compilation zu finden sein, während Nummern wie "Iconoclasts" zeigen, dass sie ein Händchen für die geschmackvolle Nutzung von Raum haben. Vom erdrückenden Intro von "Suburban Breeze" bis zum schwebenden, sanften Bop von "Spring's Theme" haben Surprise Chef ein Album zusammengestellt, das dich durch Höhen und Tiefen der Emotionen führt. Ein lebendiger, die Fantasie beflügelnder Sound! Dem weiten Spektrum dieser Instrumentalmusiksparte wird mit diesem neuen Album ein modernen Klassiker hinzugefügt.

South Street delve into the The Sound Of Detroit from one of its unsung heroes, reissuing Amp Fiddler's 'Motor City Booty' LP on Yellow & Blue vinyl respectively. Coming straight off the D Funk assembly line, it's a full on dance floor affair from Motown to P-Funk, Techno and Neo Soul.

This 12 track album produced by Amp Fiddler & Yam Who? includes the massive 'Soul Fly' sounding like a Mark Ronson production had he been hanging out with George Clinton's Parlet followed by the bonafide P-Funk anthem 'Steppin' both featuring the stunning vocals by the Dames Brown girls.

Amp Fiddler is credited for taking both a young J Dilla and also Q-Tip under his wing teaching them his Akai MPC techniques, setting the path for some of Hip Hop's finest recordings which have defined the shape of things to come.

His musical collaborations & current duties include: Moodymann's musical maestro, keyboard wizard for Theo Parrish's live band, a longstanding Funkadelic member, co-writer for Sly & Robbie, Prince, Maxwell, Jamiroquai & Seal to name a few.

Kuedo wird sein neues Album, „Infinite Window“, am 29. Juli 2022 auf Brainfeeder veröffentlichen. Das Ende Juli erscheinende neue Album ist das erste seit „Slow Knife“, das 2016 bei unseren Freund*innen von Planet Mu erschien.

Mit einer Mischung aus Synthesizer-geladenen Avantgarde-Kompositionen und donnerndem Drum-Programming, verdankt das Album modernen R&B-Ikonen wie Frank Ocean und The Weeknd ebenso viel wie legendären Komponist*innen wie David Axelrod, Tangerine Dream und dem jüngst verstorbenen Vangelis oder zeitgenössischen Breakbeat-Aficionados wie Sully und Jlin.
Kuedo (englisch ausgesprochen: Q-dough) ist bekannt für seine Kompositions- und Sounddesign-Arbeiten für Unternehmen wie u.a. Fendi, Bvlgari, Iris Van Herpen oder Nike. Die Veröffentlichung seines kommenden Albums folgt auf eine Zusammenarbeit mit Brainfeeder-Chef Flying Lotus im Jahr 2017 für den Soundtrack von „Blade Runner: Black Out 2022“ (unter der Regie von „Cowboy Bepbop“-Regisseur Shinichiro Watanabe), wobei Kuedo auch die Filme „Eurasia (Questions On Happiness)“ und „The Sprawl (Propaganda About Propaganda)“ von Metahaven vertonte. Die Vorstellung von „Zeit“ - der Blick nach vorn und zurück - zieht sich wie ein roter Faden durch das Album und den Aufnahmeprozess. Die Entstehung von „Infinite Window“ begann Anfang 2021, als Kuedo sich hinsetzte, um ein komplettes Album für Brainfeeder zu komponieren. Die fertige Platte ber ist eine akribisch zusammengestellte Collage aus neuen Kompositionen und verschiedenen Demos und Tonaufnahmen, von denen einige fast zehn Jahre zurückliegen.

Die limitierte Auflage der gelben Vinyl-LP enthält Artwork von den aufstrebenden visuellen Künstler*innen Monja & Vincent und ein Cover-Design von Raf Rennie (Acronym, Prada, Nike).

Clear Vinyl

Laila Sakini and Lucy Van’s sought after 2017 EP Figures resurfaces on a newly expanded and remastered edition, deploying taut poetry and creeping electro-pulses for an alchemical suite of slowly encroaching trip hop x dub-pop.

Long before releasing her slow-burn classic ‘Vivienne’ and last year’s compelling Princess Diana of Wales album, Laila Sakini was at work with acclaimed poet Lucy Van for an impromptu session for a local noise and spoken word night in Naarm, Australia. Those initial ideas marinated and eventually resulted in ‘Figures’ - an EP that was originally released on tape via Purely Physical Teeny Tapes, offseting Sakini’s minimal production against Van’s text, spoken in a carefully enunciated dialect lifted and wrapped around Sakini’s nocturnes. It’s the sort of thing that reminds us of Tin Man & Rashad Becker’s ‘Wasteland’ sessions, fused with the spirit of the contemporary Naarm/Melbourne scene.

For all those references, Sakini and Van’s songs are displaced from the contemporary wellspring too. The dusky blue waltz of opener ‘Those Who See’ comes off like a lighter Leslie Winer or melodic, early AFX, as Van dryly intones “...all my enemies in an orgy, of IQ to body ratio,” while ‘Deep End’ sees them nudge into more claustrophobic introspection, before shoring up a dank sort of trip hop sleaze with the title song, slithering with a similar energy to early 90’s Autechre as the narration echoes to a blur.

The three previously unreleased songs flesh out the release into the full album it always should have been, cut of equally rare, hand-spun fabric. With its post-Sleng Teng B-line and noctilucent chords, ‘What You Need’ feels like an Eski rhythmic bump accompanied by sub-aquatic synth bass, and the opalescent, gumtree-shaking shimmer ‘Rough Desires’ secretes its intimations with an absorbingly hypnagogic slow-burn that pools into the perfect curtain closer; ‘Trees Make Me High’.

Broken Hearts and Dirty Windows: Songs of John Prine, Vol.2, the follow up to the original 2010 tribute record, is set for an October 8th release. With tracks from Sturgill Simpson & Brandi Carlile revealed so far, the release adds to an esteemed legacy for Oh Boy Records, which is celebrating its 40th anniversary this year.

THE RETALIATORS MOTION PICTURE SOUNDTRACK is the high-octane original soundtrack from the award-winning horror-thriller THE RETALIATORS. It includes special appearances from some of the biggest names in rock music such as Five Finger Death Punch, Tommy Lee, Papa Roach, The Hu, Ice Nine Kills, Escape The Fate and more, both on screen and on the original soundtrack. The album is available on a limited collectors edition 180gm red & black splatter vinyl pressing housed in a gatefold sleeve with exclusive movie stills, a 24x36 movie poster collectable, blood spattered o-card and including a digital download. It is also available on digipak CD and cassette formats.

The first album of Web Web is very uncut, raw, live and direct. Oracle is the first output of a German Supergroup. Check the musician credits below and you'll get the score. The initial idea was to record a spiritual-jazz type of album, with all its imperfection as far as intonation, sound, influences of tunes... just like from their big jazz-heroes in the 70ies (e.g. Strata East, Black Jazz).

Web Web's idea was to record a jazz jam session while to found and proclaim being a fictive band, a formation, which did not exist, while telling people, it would be a secret jam session recording of the Seventies. The prompt problem they were facing: Oh, we never would be able to play concerts, doing interviews, or placing photos on sleeves or post likeness images online. So they decided to reveal their real identities:

Web Web are: Roberto Di Gioia (Piano, Synth, Percussion), Tony Lakatos (Tenor- and Sopranosaxophone), Christian von Kaphengst (Upright Bass) and Peter Gall (Drums).

Roberto Di Gioia (Mastermind of Web Web): - The four of us set up very close in a big room, so we could hear and feel each other the best way. The music became more intensive, improvisations became more dynamic and it was impulsive .

The album Oracle' was recorded on one day, only first takes were used!

We want to keep the burning spirit and the loose vibe we had during the recording session. And we play concerts the wild and free way we recorded this album. Web Web will be on tour 2018, but playing a few concerts in 2017.
Furthermore, one main decision to blab their real identities was: The second Web Web album is recorded in June (with guests like the famous and unique Gembri-player and multiinstrumentalist and singer Majid Bekkas from Morocco).
Both albums were engineered, recorded and mixed by Jan Krause (Beanfield, Poets Of Rhythm).

Roberto Di Gioia: - Tony was tuning his Soprano too high, and his (overdubbed) tenor way too flat!
My synthesizers were somewhere in between...HA! We exactly had the sound we had in our minds, we had it exactly there were we wanted it: a bit of Sun Ra here, a bit of Horace Tapscott there. On some tunes Tony's soprano just sounds like a trumpet, since due to his weird tuning the soprano develops different frequencies in relation to other instruments.

Oracle' is the first live jazz release on Compost. Produced by Roberto Di Gioia and Michael Reinboth.

Roberto Di Gioia has been working with numerous jazz-legends, such as Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter and many more.

From 1990 to 2008: member Klaus Doldingers Passport. As a pianist he made recordings with Udo Lindenberg (MTV-Unplugged, 2011), Charlie Watts ( Music Of The Rolling Stones , 2005), Console ( Reset The Preset , 2003), The Notwist ( Shrink 1998, Neon Golden , 2002). Since 2007 he is working together with Samon Kawamura and Max Herre as KAHEDI: Max Herre ( Hallo Welt , 2012), Joy Denalane ( Gleisdreieck , 2017), u.v.m...His own group MARSMOBIL (produced by Peter Kruder) will release his fourth studioalbum in winter 2017.

Tony Lakatos originates from the world famous Lakatos-familiy from Budapest, Hungary. His father was a famous violinist, as well as his younger brother Roby. He started playing saxophone when he was 15 years old. Tony studied at the Bela-Bartok-Conservatory in Budapest, and made his degree in 1979. Since then he played on over 350 jazz albums (!!), to name a few: Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony was a member of Jasper Van´t Hofs PILI PILI. Since 1993 he is working with the HR Radio-Bigband as a soloist.

Christian von Kaphengst learned the piano at the Peter-Cornelius-Conservatory in Mainz when he was 6 years old. From 1988 to 1995 he studied upright-bass at the - Musikhochschule in Cologne. He was touring with his own Jazzquartett - Cafe du Sport to Pakistan, India, Turkey and West-Africa. Since 1999 he regularly plays with Patti Austin and The New York Voices in Europe. Von Kaphengst played with the greatest musicians, such as Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.

Peter Gall won some important German awards already when he was a youngster, like - Jugend Jazzt . He was touring with the famous - Bundesjazzorchester conducted by German jazz legend Peter Herbholzheimer. He studied at the Berlin University Of Fine Arts and at the Jazz Institute Berlin with John Hollenbeck. Gall made a masterclass at the Manhattan School Of Music with John Riley. He has been working with Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.

White Vinyl

To celebrate the 30 year anniversary of Shakespears Sister’s seminal album ‘Hormonally Yours’,London Records have announced special edition releases across multiple formats.
A double platinum and top 3 UK album ‘Hormonally Yours’ secured Siobhan Fahey and Marcella Detroit a place in British pop history, spawning the single Stay - which spent a staggering eight consecutive weeks at the top of the UK charts - and winning the duo an Ivor Novello Award for Outstanding Contemporary Song Collection.
‘Hormonally Yours’ also features singles ‘Goodbye Cruel World’ and ‘I Don’t Care’, tackles friendships gone wrong on ‘My Sixteenth Apology’, powerful, dangerous attraction on ‘Emotional Thing’ and documents a friend’s coming out on ‘Are We In Love Yet?’ Fan favourite ‘The Trouble With Andre’, the full-throttle glam-blues of ‘Cat Woman and glorious finale ‘Hello (Turn Your Radio On) is the album’s glorious finale: an exhalation; a glorious, earth-shuddering moment that recalls the epic melancholy of David Bowie’s ‘Five Years’ and The Beatles’ ‘A Day In The Life’.
Shakespears Sisters second LP, Hormonally Yours, provided the perfect encapsulation of Shakespears Sister’s musical ying and yang; a deftly delivered balance of pop melody with a spikey alternative darkness

Terence Etc., besser bekannt unter seinem Vornamen Terence Nance veröffentlicht sein Debütalbum "V O R T E X", am 19. August auf Brainfeeder. Terence, der sich an der Schwelle zur künstlerischen Form bewegt, ist vielleicht am besten für seine mit dem Peabody Award ausgezeichnete experimentelle Comedy-Sketch-Serie auf HBO bekannt: "Random Acts of Flyness". Aber er ist wirklich multidisziplinär. Er zeichnet. Er schreibt. Er singt. Er spielt Gitarre. Er baut Dinge. Er beherbergt in sich eine Vielzahl von Möglichkeiten, eine Vielzahl von Realitäten, die umherschwirren und nach Ausdruck und Gleichgewicht suchen. Und es ist dieser Wunsch nach Gleichgewicht - Gleichgewicht des Lebens, Gleichgewicht der Emotionen, Gleichgewicht der inneren Energien -, der sein Debütalbum "V O R T E X" hervorgebracht hat.

Das Album entzieht sich einer einfachen Kategorisierung, ist aber vom gleichen Experimentier- und Abenteuergeist geprägt wie Terence' Helden und Zeitgenossen, Künstler wie André 3000, Solange, Serpentwithfeet, Nelson Bandela, Standing on the Corner, Earl Sweatshirt, Nick Hakim und Moses Sumney und sogar der illustre Gründer von Brainfeeder, Flying Lotus. V O R T E X bezieht sich auch auf die Literatur von Louise Erdrich und Toni Morrison sowie auf die Zeichnungen von Ruby Amanze, deren Stimme auf dem Album zu hören ist.

Iggy Pop, Debbie Harry, Henry Rollins... nur einige der Punk-Ikonen, die sich tief beeindruckt gezeigt haben von The Bobby Lees aus Woodstock, N.Y. Sam Quartin Gesang, Gitarre, Macky Bowman Schlagzeug, Nick Casa [Gitarre] und Kendall Wind [Bass] machen Musik, die von Geist und Seele her Punk ist; ungezügelt und entschlossen ehrlich.

Ein selbst veröffentlichtes DIY-Album (Beauty Pageant) erschien 2018 und erregte die Aufmerksamkeit des Garage-Rock-Impresarios Jon Spencer, der daraufhin das 2020er Album Skin Suit produzierte.

Im Jahr 2022 machte sich die junge Band, nun road-erprobt und entschlossener denn je, nach Nashville auf in die Sputnik Sound Studios, um Bellevue aufzunehmen, ihr Debütalbum für Label Ipecac Recordings, live im Studio mit Produzent Vance Powell (Jack White, Chris Stapleton, The Raconteurs).

Mit ihrem intelligenten und durchdachten Songwriting folgen The Bobby Lees ihrem Instinkt als Musiker und Freunde und arbeiten gemeinsam an der Entstehung der Songs. Der Sound ist düster, minimalistisch und viszeral, jeder Song eine Ode ans Außenseitertum.

Iggy Pop, Debbie Harry, Henry Rollins... nur einige der Punk-Ikonen, die sich tief beeindruckt gezeigt haben von The Bobby Lees aus Woodstock, N.Y. Sam Quartin Gesang, Gitarre, Macky Bowman Schlagzeug, Nick Casa Gitarre und Kendall Wind [Bass] machen Musik, die von Geist und Seele her Punk ist; ungezügelt und entschlossen ehrlich.

Ein selbst veröffentlichtes DIY-Album (Beauty Pageant) erschien 2018 und erregte die Aufmerksamkeit des Garage-Rock-Impresarios Jon Spencer, der daraufhin das 2020er Album Skin Suit produzierte.

Im Jahr 2022 machte sich die junge Band, nun road-erprobt und entschlossener denn je, nach Nashville auf in die Sputnik Sound Studios, um Bellevue aufzunehmen, ihr Debütalbum für Label Ipecac Recordings, live im Studio mit Produzent Vance Powell (Jack White, Chris Stapleton, The Raconteurs).

Mit ihrem intelligenten und durchdachten Songwriting folgen The Bobby Lees ihrem Instinkt als Musiker und Freunde und arbeiten gemeinsam an der Entstehung der Songs. Der Sound ist düster, minimalistisch und viszeral, jeder Song eine Ode ans Außenseitertum.

The Neapolitan producer makes a comeback on Horisontal Mambo with an ideal follow-up to his previous LP “Palinuro Phonebox”
and once again teams up with label boss Prins Thomas for some mixdown touches.
Halfway between italoboogie and Balearic beats, Chalet Miseno is a nostalgic ode to some 90s “estate italiana” holidays seen through the eyes of a kid.
From the catchy beats of the title track (with its roaring motorbike intermezzo) and “Dragonara Punch”, to the dreamy soundscapes of “Luna Mirabilis”
this album is guaranteed to be the perfect soundtrack to a hot summer (and a refresher for the long winter).

UK producer Dennis Huddleston goes by the artist name of 36. He is a much-loved producer with a fine back catalogue which is investigated here with The Box, a new collection of his earliest and perhaps most admired works. They were all written between 2005 and 2012 and are drawn from albums such as 2009's Hypersona, 2010's Hollow and 2012's Lithea. The bumper six vinyl collection also features a bonus album, Orphans, of all new and previously unreleased tracks. There is a real depth of range and emotion to these tracks so it is no wonder the artist says they are some of the most personally cherished works he has written.

Just over a decade ago, Japanese indie-pop duo Tenniscoats recorded »Papa's Ear« (2012) and »Tan-Tan Therapy« (2007), two albums made with musical and production help from Swedish post-rock/folk trio Tape. Originally released on Häpna, they are beautiful documents of the exploratory music made by a close-knit collective of musicians, fully at ease with each other, playing songs written by Tenniscoats and arranging them in gentle and generous ways. Released during a prolific phase of collaboration for Tenniscoats – during the late ‘00s and early ‘10s, they would also collaborate with Jad Fair, The Pastels, Secai and Pastacas – they have, however, never been available on vinyl. In collaboration with Alien Transistor, Morr Music is now reissuing these albums with bonus material.

Filled with graceful pop songs, autumnal folk tunes, and gentle yet risk-taking improvisations, »Tan-Tan Therapy« was the first Tenniscoats album to be released in Europe, after a run of albums on Japanese labels, and the excellent »Live Wanderus« (2005) on Australian imprint Chapter Music. It was also the first recorded evidence of their collaboration with the three members of Tape and that group’s extended musical family. It opens with one of Tenniscoats’ signature songs, the pop fantasia of »Baibaba Bimba«, with Tenniscoats singer Saya repeating a light-headed incantation over joyous brass. The essence of Tenniscoats is contained in »Baibaba Bimba«: uplifting melody and playful musicianship, tinged with distant echoes of winsome melancholy.

From there, »Tan-Tan Therapy« explores many hues of lustrous blue. »Oetu to kanki no Namoriuta (Given Song of Sob and Joy)« is an aquatic arbour, the musicians’ gentle performances growing together like vines and seaweed as Saya’s voice swims through the waterway. »Umbarepa!« is full of play and pleasure, sparkling with glockenspiel as snare drum tattoos push the song ever-forward. »Abi and Travel« floats past, a lovely instrumental built from shifting layers of synthesizer and pianet; »Good B.«, an extra track originally only available on the Japanese edition of »Tan-Tan Therapy«, is added to this reissue, and follows a similar thread, its humming pump and Hammond organs swirling under beautiful vocals from Saya and guest performer Kazumi Nikaido.

Throughout, you can sense the deep empathy the members of Tenniscoats and Tape have for one another. It’s a conversational, tender and, at times, fragile music that can only be created out of mutual trust and kindness, with each of the players contributing to the community of sound they’re building. There’s an element here, too, of feeling out the possibilities of what this creative meeting can achieve, something reflected in the loose-limbs sprawl of »Marui Hifo (Everyone)«, which echoes the seaside drift of Bristol post-rock group Crescent, and the following »One Swan Swim«, a dreamsong redolent of the sleepy sensorium of Robert Wyatt’s »Rock Bottom«.

The freedom and liberty at the heart of Tenniscoats is something Tape and their friends have picked up on, beautifully so, and run with during the entirety of »Tan-Tan Therapy«. This is music with its wings outstretched, wanting to take to the air, ready to fly.