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This is the first release of the brand new vinyl label Terra Magica Rec. which was founded by Munich based music producers and DJs Mirko Hecktor and Tom Sprenger in mid-pandemic times of 2021.

The first release hosts two tracks of the label bosses themselves under their moniker Hektisch Sprengen DJs. In German language the term Hektisch Sprengen basically means blowing up things in a very hectic manner. Instead prepare for quite the contrary sound vise. Their tracks Social Rub and Dancing Dust are electronic, analog Slow-Disco-Cosmic-Trance-Tunes containing some SH101 and Korg synth lines with TR-808 beats and some Japanese, African 2 South-American hints. While one track is tracing an ultra rare psychedelic voice sample from Nigeria’s 70’s Highlife scene the other one uses a little boinx gag.

To round things up no other than Dirk Leyers from Africaine 808 did the final mixdown on those tunes.

On top DJ Normal 4 straight outta ‚Pott’ hits full on groove with an uncanny Funk Breaks anthem recalling early 90s Warp and the best of UK-Big-Beat-Acid and conga easiness.

Last but not least Down Under`s DJ Chrysalis jumps into the genre madness on Terra M`s first release delivering a raw UK-Garage-IDM influenced dreamy synth shiver down your spines transcending those fellow e-dancers straight into the golden years of club culture.

‘The Afro Modern Seventies Sounds of Soweto’s First Nightclub

• Over ten years in the making, this is the first compilation from South African vinyl re-issue specialists Matsuli Music

• Ten track double gatefold album journey through jazz, funk, fusion and disco, detailing the incredible story and sounds behind the Soweto nightclub during the height of apartheid

• Uniquely South African take on the trans-Atlantic sounds of Philadelphia, Detroit and New York City

• Cover artwork by Zulu Bidi (of Batsumi fame) with unseen photographs, and liner notes by Kwanele Sosibo featuring interviews with key musicians, players and a former president of South Africa

• Audio mastered and cut for vinyl by Frank Merritt at The Carvery with heavyweight 180g vinyl pressed at Pallas in Germany

A night-time haunt in the backstreets of Soweto run by a well-known bootlegger should have been a prime zone for nefarious underworld activities. Instead, it nurtured an underground of a different kind. Soon after its opening in 1973, Club Pelican became a spot where musicians steeped in the tradition of South African jazz began to cook up experimental sounds inspired by communion, competition and the movements in funk and soul blowing in from the West. Located in an industrial park on the western edge of Orlando East, Soweto, Club Pelican was off the beaten track, among a matrix of railway and industrial infrastructure. In a different time and place, this would have been a prototypical nightclub location, except there was no local precedent to follow. This was Soweto’s first night club.
In the intervening years, this location has served to heighten the now-defunct spot’s legendary status as a singular venue, one that ruled the night in the Seventies. Initially called Lucky’s and established in 1973, the Pelican’s impact on the Soweto cultural landscape was immediate. Lorded over by a charismatic figure known as Lucky Michaels, the club became the jewel in a nondescript collection of family businesses. It boasted a diverse pool of talent in its succession of house bands and an A-list of ghetto-fabulous singers as

its cabaret stars. Its VIP section was a veritable who’s who of Soweto society and its stage, hosting a mix of the day’s pop culture infused with the creativity and individual histories of the musicians, the Pelican filled a live music vacuum.
One Night in Pelican captures the halcyon seventies period with a single nightclub embodying an indomitable spirit of its troubadour players. While schooled and rooted in “standards” and local forms, the music could take any direction, at a moment’s notice. This compilation features all the key groups and players of the time: Abacothozi, Almon Memela’s Soweto, The Black Pages, Dick Khoza and the Afro Pedlars, The Drive, Ensemble of Rhythm and Art , The Headquarters, Makhona Zonke Band, the Shyannes and Spirits Rejoice.’

'Very ‘Eavy, Very ‘Umble’ by Uriah Heep, Picture Disc Vinyl, Limited Edition, Official Collectors Release, The debut album which helped pioneer the heavy metal genre. LP set on heavyweight vinyl.

BMG are ecstatic to announce the release of ‘Very ‘Eavy, Very ‘Umble’, the debut studio album from Uriah Heep, on an ‘Official Picture Disc LP’ for the very first time. Containing the original audio recorded in Lansdowne Studios, this new pressing of the album contains the hits ‘Gypsy’, ‘Come Away Melinda’ and more.

This seminal album was first released in June 1970, featuring the obscured, cobwebbed face of David Byron on the artwork.

Uriah Heep continue to celebrate the 50th anniversary of the formation of Uriah Heep with the release of their debut album ‘Very ‘Eavy, Very ‘Umble’ on official picture disc LP for the very first time. This LP begins a series of collector picture disc’s releases from the Uriah Heep catalogue.

Cloakroom celebrate their tenth anniversary as a band with their new album, Dissolution Wave. Dissolution Wave is a concept - a space western in which an act of theoretical physics—the dissolution wave—wipes out all of humanity’s existing art and abstract thought. In order to keep the world spinning on its axis, songsmiths must fill the ether with their compositions. Meanwhile, the Spire and Ward of Song act as a filter for human imagination: Only the best material can pass through the filter and keep the world turning. This is the universe that Cloakroom guitarist/vocalist Doyle Martin conceived as a way of processing the last few years. “We lost a couple of close friends over the course of writing this record,” he says. “Dreaming up another world felt easier to digest than the real nitty-gritty we’re immersed in every day.” With lyrics based on an imagined cosmology, Dissolution Wave also marks a grand expansion of Cloakroom’s dreamy space-rock palette. Written from the perspective of the album’s protagonist—an asteroid miner who writes songs by night—”A Force at Play” has an airy, pastoral feel. Meanwhile, the melancholy title track captures the miner’s regret as they lament that they signed up for such a long stint on the job, while closer “Dissembler” describes their anxiety about the revelator who will judge their work. “If you don’t write a good enough song in this universe, you run the risk of being forgotten and lose the opportunity to return as a meaningful form of life,” Martin explains. The stakes have never been higher!

As funny as it may sound, Anaïs Mitchell has spent the past 15 years in some kind of hell. OK, not actual hell, but the multi-faceted world of Hadestown, a musical project she began in Vermont in 2006 that has grown into a Tony®- and Grammy®-award-winning Broadway phenomenon with touring editions now delighting audiences as far away as South Korea.

“I experienced so much joy working on Hadestown, but it just kept ramping up and up and requiring more and more attention,” Mitchell admits. “I had to become so single-minded and really put blinders on to my other creative life.” As it did for many artists, the COVID-19 pandemic unexpectedly offered Mitchell a blank slate to reconnect with her own music. The result is a new self-titled album made with close collaborators from Bon Iver, The National and her own band Bonny Light Horseman, Mitchell’s first collection of all-new material under her own name since 2012’s Young Man in America.

“I was nine months pregnant when the pandemic reached New York, so we made an 11th hour decision to leave and have the baby in Vermont,” Mitchell recalls. “We left the city and had the baby a week later, and then like everyone, we were in the midst of this unprecedented stillness. It felt like I could see behind me: oh, there’s New York City. There’s Hadestown. There’s my life with just one kid. A certain kind of stress and expectations. In Vermont, we moved onto my family farm and lived in my grandparents’ old house, with a new baby. I’d look at pictures on my phone from a few months earlier and wonder, whose life was that? This record, and the songs that are on it, came out of that time. I got into a flow again that I hadn’t felt in a really long time.”

Dubbed by NPR as “one of the greatest songwriters of her generation,” Mitchell is a master of the worlds of narrative folksong, poetry and balladry. Those talents are evident from the first moments of the new album, as Mitchell narrates what she calls “an unbearably romantic” trip over the Brooklyn Bridge colored by Bon Iver member Michael Lewis’ heartstring-tugging saxophone accompaniment. “Having left New York, I was able to write a love letter to it in a way I never could when I was living there,” she says. “It was like, fuck it. This is how I feel. There is nothing more beautiful than riding over one of the New York bridges at night next to someone who inspires you.”

Produced by Mitchell’s Bonny Light Horseman bandmate Josh Kaufman, the album proceeds to chronicle Mitchell’s reconnection with the Vermont roots that have been so formative in her life and music. “Bright Star” finds her making peace with the idea of being at peace in the familiar setting of her grandparents’ house, while “Revenant” was inspired by paging through a box of journals and letters belonging to herself and her grandmother — “a very pandemic activity,” she says. “That house is literally my happy place. I can picture myself as a kid, in this house, laying on the carpet with a sunbeam coming through the sliding glass door. There’s something about it that is really connected in my mind to my childhood and a very free, imaginative, creative time. “Revenant” has a lot to do with that house and reconnecting with my childhood self.”

Mitchell concedes that she tends “to be someone who thinks it has to be hard in order for it to be good or beautiful,” but that feeling has changed, partly thanks to her deep connection with musicians she’s met through the 37d03d collective established by The National’s Aaron and Bryce Dessner and Bon Iver’s Justin Vernon. During the pandemic, some of those artists participated in a “song a day” writing group — an idea Mitchell says is usually “totally opposite of how I roll. But it really helped me to gain access to some kind of trust and intuition and flow. I began a bunch of these songs while doing that.”

“It unlocked something that allowed me to finish a bunch of songs I’d been sitting on, and feeling a bit paralyzed about how to finish them,” she continues. “Because no one was touring, it’s not like I was playing them for anyone before we were in the studio. In other times, I’ve trotted things out in advance. Here, it was like, here’s all these brand new songs. Let’s discover what they can be. That was really exciting.”

That discovery process took flight at Dreamland Recording Studios outside Woodstock, N.Y., which Mitchell describes as “this weird, janky, beautiful church - it’s my favorite studio in the world.” Kaufman, Lewis and Big Red Machine drummer JT Bates formed a core band around Mitchell, while Aaron Dessner and Thomas Bartlett joined the sessions mid-week on guitar and piano, respectively.

After the appropriate COVID tests came back negative, “it was a pretty extraordinary feeling to hug, kiss and share the same space playing together,” Mitchell says. “We went into that world for a week and didn’t leave the studio for any reason. I felt very safe with all those guys. It was warm and joyful.”

Mitchell says this environment brought out unexpected details in the material, which was recorded almost entirely live together in the room. “Sometimes we tried separating things out, like vocals, but we always ended up back in the room together,” she says. Indeed, after spending the better part of a day recording overdubbed versions of “Little Big Girl” that nobody loved, the musicians gave up and tracked it again live. “We got so frustrated that we went in and I was like, I’m just going to sing this as hard as I fucking can. It felt like that’s what the song wanted to be,” Mitchell says. “It felt like all those songs wanted to be recorded as live as possible.” The exception to the rule was Nico Muhly's arrangements for strings and flute, which were added from New York City afterward.

Mitchell will debut the new material during various headline tours in the U.S. and Europe in 2022, at which she’ll be accompanied by players from the album. On stage, she can’t wait to further hone the sights, sounds and scenes that bring the songs to such vivid life. “I’ve spent a lot of time trying to write in the voice of other characters, especially with Hadestown. It’s fun for me, but these songs are not that,” she says. “Weirdly, they’re all me. The narrator is me. That’s why it felt right to self-title the album. It felt like after so many years of working on telling other stories, now here are some of mine.”

As funny as it may sound, Anaïs Mitchell has spent the past 15 years in some kind of hell. OK, not actual hell, but the multi-faceted world of Hadestown, a musical project she began in Vermont in 2006 that has grown into a Tony®- and Grammy®-award-winning Broadway phenomenon with touring editions now delighting audiences as far away as South Korea.

“I experienced so much joy working on Hadestown, but it just kept ramping up and up and requiring more and more attention,” Mitchell admits. “I had to become so single-minded and really put blinders on to my other creative life.” As it did for many artists, the COVID-19 pandemic unexpectedly offered Mitchell a blank slate to reconnect with her own music. The result is a new self-titled album made with close collaborators from Bon Iver, The National and her own band Bonny Light Horseman, Mitchell’s first collection of all-new material under her own name since 2012’s Young Man in America.

“I was nine months pregnant when the pandemic reached New York, so we made an 11th hour decision to leave and have the baby in Vermont,” Mitchell recalls. “We left the city and had the baby a week later, and then like everyone, we were in the midst of this unprecedented stillness. It felt like I could see behind me: oh, there’s New York City. There’s Hadestown. There’s my life with just one kid. A certain kind of stress and expectations. In Vermont, we moved onto my family farm and lived in my grandparents’ old house, with a new baby. I’d look at pictures on my phone from a few months earlier and wonder, whose life was that? This record, and the songs that are on it, came out of that time. I got into a flow again that I hadn’t felt in a really long time.”

Dubbed by NPR as “one of the greatest songwriters of her generation,” Mitchell is a master of the worlds of narrative folksong, poetry and balladry. Those talents are evident from the first moments of the new album, as Mitchell narrates what she calls “an unbearably romantic” trip over the Brooklyn Bridge colored by Bon Iver member Michael Lewis’ heartstring-tugging saxophone accompaniment. “Having left New York, I was able to write a love letter to it in a way I never could when I was living there,” she says. “It was like, fuck it. This is how I feel. There is nothing more beautiful than riding over one of the New York bridges at night next to someone who inspires you.”

Produced by Mitchell’s Bonny Light Horseman bandmate Josh Kaufman, the album proceeds to chronicle Mitchell’s reconnection with the Vermont roots that have been so formative in her life and music. “Bright Star” finds her making peace with the idea of being at peace in the familiar setting of her grandparents’ house, while “Revenant” was inspired by paging through a box of journals and letters belonging to herself and her grandmother — “a very pandemic activity,” she says. “That house is literally my happy place. I can picture myself as a kid, in this house, laying on the carpet with a sunbeam coming through the sliding glass door. There’s something about it that is really connected in my mind to my childhood and a very free, imaginative, creative time. “Revenant” has a lot to do with that house and reconnecting with my childhood self.”

Mitchell concedes that she tends “to be someone who thinks it has to be hard in order for it to be good or beautiful,” but that feeling has changed, partly thanks to her deep connection with musicians she’s met through the 37d03d collective established by The National’s Aaron and Bryce Dessner and Bon Iver’s Justin Vernon. During the pandemic, some of those artists participated in a “song a day” writing group — an idea Mitchell says is usually “totally opposite of how I roll. But it really helped me to gain access to some kind of trust and intuition and flow. I began a bunch of these songs while doing that.”

“It unlocked something that allowed me to finish a bunch of songs I’d been sitting on, and feeling a bit paralyzed about how to finish them,” she continues. “Because no one was touring, it’s not like I was playing them for anyone before we were in the studio. In other times, I’ve trotted things out in advance. Here, it was like, here’s all these brand new songs. Let’s discover what they can be. That was really exciting.”

That discovery process took flight at Dreamland Recording Studios outside Woodstock, N.Y., which Mitchell describes as “this weird, janky, beautiful church - it’s my favorite studio in the world.” Kaufman, Lewis and Big Red Machine drummer JT Bates formed a core band around Mitchell, while Aaron Dessner and Thomas Bartlett joined the sessions mid-week on guitar and piano, respectively.

After the appropriate COVID tests came back negative, “it was a pretty extraordinary feeling to hug, kiss and share the same space playing together,” Mitchell says. “We went into that world for a week and didn’t leave the studio for any reason. I felt very safe with all those guys. It was warm and joyful.”

Mitchell says this environment brought out unexpected details in the material, which was recorded almost entirely live together in the room. “Sometimes we tried separating things out, like vocals, but we always ended up back in the room together,” she says. Indeed, after spending the better part of a day recording overdubbed versions of “Little Big Girl” that nobody loved, the musicians gave up and tracked it again live. “We got so frustrated that we went in and I was like, I’m just going to sing this as hard as I fucking can. It felt like that’s what the song wanted to be,” Mitchell says. “It felt like all those songs wanted to be recorded as live as possible.” The exception to the rule was Nico Muhly's arrangements for strings and flute, which were added from New York City afterward.

Mitchell will debut the new material during various headline tours in the U.S. and Europe in 2022, at which she’ll be accompanied by players from the album. On stage, she can’t wait to further hone the sights, sounds and scenes that bring the songs to such vivid life. “I’ve spent a lot of time trying to write in the voice of other characters, especially with Hadestown. It’s fun for me, but these songs are not that,” she says. “Weirdly, they’re all me. The narrator is me. That’s why it felt right to self-title the album. It felt like after so many years of working on telling other stories, now here are some of mine.”

Tara Nome Doyle is a 24-year old singer-songwriter with Norwegian-Irish roots. In April 2018 her first release, the song Down with You came out. Since then it has been streamed more than four million times. More singles and an EP called Dandelion followed. In January 2020 her debut album Alchemy was celebrated by the German press (“… like Kate Bush singing songs by Nick Cave at Berghain”, SPIEGEL). TND’s second album, Værmin, will be released in January 2022 on Modern Recordings. The album was produced by Simon Goff, a Grammy-award winning producer (for his work for Hildur Guðnadóttir’s Chernobyl score), violinist and engineer.

TND likes to collaborate: In spring 2021 she co-wrote an original song with Isobel Waller-Bridge (Fleabag) for the upcoming Netflix feature film Munich - The Edge Of War. In July 2021 the EP The Moments We Keep, which she co-wrote and co-produced with the Italian pianist Federico Albanese, came out on Mercury KX. In late 2020 TND released recordings with Malakoff Kowalski (Bad Dreams) and 1k Flowers (Clemency). TND has also collaborated twice with Max Rieger (Die Nerven; producer of e.g. Caspar and Drangsal).

On Væermin TND tells a tragic love story, rich in symbolism and nuances, orchestrated with piano, violin and synthesizer and sometimes pulsating beats – and with singing that is both intense and varied, sometimes angelic, sometimes rough and threatening. Væermin is touchingly beautiful – and yet it also celebrates the supposed ugliness that lives in all of us and that we like to suppress and ignore. All songs are named after animals that are considered undesirable pests: leeches, caterpillars, snails and worms. Væermin celebrates their beauty and thus also asks a political question: What would happen if we welcomed these vermin instead of rejecting them? Wouldn't we then arrive at a much richer, balanced relationship with ourselves, to a more differentiated relationship to the world around us and to other people?

Værmin is a grand, wise, deeply moving album. And the songs get stuck in your head immediately, pulling you into their depths: existential music by an extraordinary artist.

Russell Marsden and Emma Richardson first started writing songs together in their teens after meeting at school in their Southampton hometown. Forming Band of Skulls 17 years ago with drummer Matt Hayward, they went on to make five acclaimed studio albums together. Now, the pair have temporarily stepped away from Band of Skulls to focus on a new musical project they’ve been dreaming about since their earliest songwriting days.

The album covers the full breadth of human emotions, mining deeply into songs about human connection, vulnerability, loss, change, love, identity and forgiveness – as well as the future and hope. It’s vast in scope, something magnified by its grandiose cinematic feel that leans towards the soaring jazz arrangements of the 40s and 50s. The album’s strings were scored and directed by Tom Edwards, who had worked with Band of Skulls previously when he’d reimagined several of their songs. “When Tom sent back the first song, ‘Outsider’, it was a jaw-dropping moment for us to see what he’d done with it,” Emma says. “We challenged him to take inspiration from the incredible composers and arrangers from the 40s and 50s jazz era

Bad Suns sound – dreamy '80s pastiche fanked by Stratocasters through
cranked Vox amps, pulsing synths, and palpable rhythmic energy – that
endeared listeners to the band in the frst place, and their fourth LP,
Apocalypse Whenever, uses that musical foundation as the jumping-off
point for their next evolution
Conceived as "the soundtrack to a movie that doesn't yet exist," the 13- track
album, helmed by longtime producer Eric Palmquist (MUTEMATH, Thrice) at his
Palmquist Studios and the band's North Hollywood rehearsal spot, is more
conceptually rigorous than anything they've ever attempted – but no less
compelling or accessible. "We also knew we wanted the album to have a throughline, a story from beginning to end,"frontman Christo Bowman explains, so the
band did what any good directors would: They assembled a mood board, fltering
their neo-noir version of Los Angeles through the dreamlike haziness of author
Haruki Murakami, the futuristic fair of Terminator 2: Judgment Day and Blade
Runner, and the lifted cinematography of Spike Jonze's HER.
These disparate infuences don't just offer Apocalypse Whenever an expanded
palette of sonic choices to color Bad Suns' airtight hooks – they help give the
songs an emotional complexity that works on a multitude of levels depending on
how listeners choose to receive them.

Mikkel Holm Silkjær, the frontman of Danish indie rock combo Yung, is fnally set
to release his long-awaited debut solo record as Holm - the frst release with this
solo project since 2018""s 'Dappled' EP. Titled 'Why Don't You Dance', it's a product
of three years of writing and nearly six months of recording, it's a gleefully varied
guitar- pop record that veers between styles, from the fzzing energy of
'Descending' and opener 'Intelligent Moves' to the gorgeously melodic 'Like a Dog'
and 'The Rope', via the stately introspection of tracks like 'K's Choice' and 'Back
Home'. Recorded by Yung bandmate Tobias Guldborg Tarp (who co- produced
alongside Neil Robert Young), Why Don't You Dance is the sound of Silkjær
stepping away from his group's predilection for taut rock and roll and instead
embracing a different side of his musical personality, one defned by his sharp ear
for a hook, as well as - crucially - his burgeoning ability as an expressive lyricist.

When the world shut down in March 2020, Charlotte Cornfeld was in the
middle of an artist residency in the Rocky Mountains, hunkered down in a
hut with a baby grand piano, sketching ideas for a followup album to her
Polaris-Longlisted 2019 LP The Shape of Your Name - In a matter of
hours, she found herself back home in Toronto with months of touring
cancelled and a wide swath of time ahead of her
She began to write feverishly, mining her memories and dreams and recounting
them with vivid detail. When the songs were fnished, she headed to Montreal to
record with producer/ engineer Howard Bilerman (Arcade Fire, Leonard Cohen),
drummer Liam O'Neill (Suuns), bassist Alexandra Levy (Ada Lea), and guitarist
Sam Gleason (Tim Baker). The group tracked the album in 5 days, mostly live off
the foor, seeking to capture the raw emotion of the songs. The result is Highs in
the Minuses, a memoir in fragments. Here Cornfeld fully embraces the role of
narrator, moving from one vignette to another in a colourful collage. We see her at
21, heartbroken and lost, carrying a friend's 3-legged cat back to her apartment in
a box; then as a teenager, playing a new song for a group of friends on a
trampoline. She sings of a magical frst date, an ex with a mean streak, two
skateboarders gliding in a lakeside parking lot. The brutal honesty in her lyrics
brings to mind writers like David Berman and Adrianne Lenker, while musically
she conjures a Zuma-era Neil Young, leaping from crunchy guitar rock to piano
ballads with effortless grace. Highs in the Minuses is Charlotte Cornfeld's
strongest offering to date, each song a gem in and of itself.

Double BLACK Vinyl, Gatefold sleeve, DL card. René Laloux’s celebrated 1973 sci-fi animation ‘La Planète Sauvage (Fantastic Planet)’, is overhauled with a re-imagined soundtrack by electronic modernists Stealing Sheep and legendary sound innovators The Radiophonic Workshop. This exclusive release is part of Fire Records’ re-imagined score series. “No institution has had a greater impact on the development of electronic music than the BBC Radiophonic Workshop.” The Vinyl Factory. It’s a real pre-Avatar conundrum that Stealing Sheep, with the help of Bob Earland, Dick Mills and Roger Limb from the Radiophonic Workshop, unravel. Creating an ethereal excursion that’s narrated by Roger Limb; like a futuristic Martin Denny, or Dr Who gone ambient techno, with a hint of Forbidden Planet 50 years on. It’s an analogue swirl set in an off-world paradise; a field recording from the future. This is a creative, generation-spanning, union brought together to score this unique cult film. A must for fans of psyche electronica and Stealing Sheep’s formidable ‘Big Wows’ album. “Stealing Sheep devour a broad range of styles, incorporating everything from the dark dance-pop of Grace Jones to the experimentations of Radiophonic Workshop pioneer Delia Derbyshire and John Carpenter soundtracks.” The Guardian // ‘La Planète Sauvage’ is a thing of ambient beauty punctuated with electronic earworms that switches from intensely ominous to otherworldly dream like moments.

Black Vinyl, DL Card. Following Lucy Gooch’s acclaimed ‘Rain’s Break’, her first release on Fire Records earlier this year, the artist’s acclaimed debut EP ‘Rushing’ is revisited with new artwork and a brand new track, ‘Orthione’. “Lucy’s sound marries the etheral qualities of ambient music with buoyant, effortless pop” Crack ‘Rushing’ in its original shorter five-track incarnation was heralded as a touchstone beneath the cascading torrent of modern times and an oasis for turbulent times. An intimate collection of songs built around Lucy’s emotive vocals and unique ambient dream pop, the newly added stand-out track ‘Orthione’ trips into the esoteric world of Laurie Anderson and Philip Glass; here her voice is the grounding force that travels to a space that heals and grows. “For an artist whose favourite trick is the seemingly infinite crescendo, she clearly knows the value of restraint” Pitchfork // “Expansive, upfront, spectral pop” KEXP // “The pastoral element of the music resonates more as you tune in to Lucy’s unique vocal.” Loud And Quiet

To many AxH represents one of the few out there who has held underground strong through the many peaks and valleys of Dubstep, and as such pushed the sound forward all the while. Through Releases on Artikal, Boka, Tempa, and many more AxH has year over year maintained his position as the stateside stalwart. LoDubs is pleased to bring forth three new tunes emblematic of the AxH DNA: Fearsome, at times Frenetic, yet always forward thinking.

Aleksandir's debut album on Omena, Skin, was both musically and conceptually, a truly personal and expressive record.
Here we have three tracks from the album in glorious remix form.

Tom VR has managed to carve out a unique sound with his music, released on labels such as All My Thoughts, Intergraded, Lionoil Industries and Valby Rotary.
He delivers a dreamy, lucid and melodic take on 'Skin & Mind' and makes an already beautiful track almost implausibly wide-eyed

After several stunning and diverse releases, we had to get Ikonika on board to remix 'I Used To Dream'. Her take on the track is a futuristic electronic beat construction, polished with class and driven by weighty production.
John Dunk launched the Cameo Blush project in 2019 with the 'Murky Waters' EP on Nick Hoppner's Touch From A Distance label and released a follow-up 'Lucky', earlier this Spring on Ross From Friends' Scarlet Tiger label.
Both showcase his inventive rhythms and sunrise-ready melodies. His remix of Prado is both colourful and vibrant, a melting pot of swirling sounds that gives the original new life...

Looking at Dan Andriano's catalog, one might assume that making new music is old hat for the veteran vocalist, songwriter, bassist and primary member of the beloved Chicago punk outft Alkaline Trio
Decades into his prolifc career, though, Andriano is just as in love with the process as he was in those early days of sweaty clubs and cramped vans.

On Andriano's new Epitaph Records album, Dear Darkness, that unceasing passion is evident on this solo, self- produced project, which follows his 2015 release (as Dan Andriano in the Emergency Room) Party Adjacent, fnds Andriano venturing into deeply personal lyrical territory while also pushing the limits of just what his unclassifable sound can be.

Hailing from Sydney, Australia, prolific producer Cabu (860K Monthly Listeners and more than 90M cumulative streams on Spotify alone) has come a long way; from his successful remix work – from Joe Hurtz's "Stay Lost" edit (37M Spotify-streams) to Big Wild's "Empty Room" flip (20M Spotify-streams) – to his consistently catchy original productions, Cabu's only getting started. He keeps this momentum alive with the EP "So Far To Go", his first to be released by Ta-ku & Jakarta Records' sublabel 823 Records.

823 is a perfect place for Cabu's bouncy, hypnotic grooves and is a return to form for what "Cabu" represents: a driving force in the pursuit of happiness through sound. It's a well-timed collaboration, as Cabu's fanbase has continuously grown over the past few years through features on Australia's Triple J, DJ Complexion's Future Beats Radio, Soundistyle, The South East Grind, Mutual Friends, ThisSongIsSick, Majestic Casual, Soulection Radio, BBC 1xtra, Pilerats, Maison Kitsune and more. To that end, "So Far To Go" features some of the most talented artists to come out of the Pacific continent, such as Milan Ring (95K monthly Spotify listeners) – coined "Australia's R&B Princess" by Apple Music – Brisbane native hit-maker Young Franco (1M+ monthly Spotify listeners), Kamaliza (123K monthly Spotify listeners), NOÉ, Gabby Nacua, Pastel and of course label-head Ta-ku himself.

1st single, "Process" featuring Ta-ku & Milan Ring was released on November 3rd. Hypnotically bouncy, with heavenly synth pads, crisp percussive elements combined with the ethereal voices of Ta-ku and Milan harmonically push the sonic envelope to make this track an infallible groovy knockout. As Cabu says, "Process" is "the dream-like state in which you take gratitude in your current situation whilst being hopeful in the future." The track provides a perfect taste of these artistic and creative powerhouses. The stunningly beautiful music video – directed by Sydney based Redscope Films and premiered on The Sound You Need – is the perfect accompaniment.

2nd single, "Sun & Moon" featuring Young Franco & NOÉ is set to be released on December 10th along with an announcement of the EP and pre-order. The song is a contagiously bouncy bop, with the different vocal harmonies and synth chords giving the track an almost prime 00's throwback, it's the perfect year-end anthem to keep dancing and growing through the good and bad.

The album's focus track, "About U" featuring Kamaliza will be released along with the EP release on January 28th, 2022. The song perfectly blends electronic elements within an R&B / Soul aesthetic, and is all about moving forward with intention, from the lyrics to the groove, making you feel tipsy on life.

All singles off the EP will be accompanied with custom visualizers by Perth-based design / creative firm Gesture Systems. The album's single-releases and videos will be promoted in-house via the artist's and the label's social media channels in Germany and Australia.

The 823 label represents the appreciation for the people, ideas and places that inspire and push their protagonists forward. "823 celebrates the simple beauty of everyday life and the people in it that inspire us." (Regan Matthews aka Ta-ku)

'The second pressing of Mountain Caller's debut album 'Chronicle I: The Truthseeker' is limited to 500 copies, cream vinyl housed in a single sleeve with printed inner, plus a full download.' Mountain Caller are ready to engage hyper-drive and launch their debut album into the riff time continuum. Mountain Caller are El, Claire and Max and hail from London. They describe themselves as a heavy progressive instrumental three-piece, who are driven to tell stories with music and want listeners to conjure up cinematic scenes in their minds. And that they do … in spades. If one needs a sonic ballpark, think the infectious jamming of Elder and the dynamic cinema-scapes of Mogwai, underpinned by the mantric riffs of Sleep. A rich amalgam of Progressive Rock, Post Metal and Doom. Nevertheless, Mountain Caller do succeed in weaving their own unique spell. The band are already buzzing, pricking up the ears of those in the know, and now after two years honing their chops with a clutch of immersive live performances under their belts (including a slot at Desertfest) Mountain Caller are ready to bring you their debut album. Chronicle I: The Truthseeker. Recorded in January of 2020 at No Studio in Manchester by producer Joe Clayton of Pijn, and mastered by Magnus Lindberg of ‘Cult Of Luna’. For the band, it’s a labour of love; the fruit of three years of jamming, crafting, and conceptualising; a collaborative piece, where each instrument takes centre stage, within a heady mix of chasmic riffs and panoramic, reflective soundscapes. Chronicle I: The Truthseeker is a feminist allegory created in tandem with the music. As the band describe it … In The Truthseeker, we join The Protagonist at the edge of the Twilight Desert, compelled by an indefinable but urgent need to set forth on an Odyssean journey to rediscover her memory and her voice. Over the course of 42 minutes, we travel from barren wastelands to mysterious cities, encountering trials of both body and spirit. It is indeed a 6 track instrumental journey. Full of winding roads, brooding valleys and strange encounters, all vividly evoked by a canny grasp of dynamics, melody and heavy, but hooky riffs, executed with peerless playing. 'Journey Through The Twilight Desert' opens the album in soundtrack mode, and develops in weight and riff (as if Goblin have taken up the baton) and closes in a full wide screen Mogwai trip .... and that's just the opening track. Elsewhere Mountain Caller pushes to noisier, heavier groovier places. Whether it’s the chiming guitars on the Krautrock/post-rock groove of 'I remember Everything' or 'Trial by Combat' and its doom meets Deftones vibe. To album closer 'Dreamspirals' with its melodic hooks and huge earworm riffs, it’s an album that more than stands up to listening on repeat as there plenty to discover.

2022 re-press, 180g vinyl

A monumental force firmly rooted in the soul canon, Willie Hutch is most notable for recording two of the best Blaxploitation soundtracks, The Mack and Foxy Brown. Yet his legacy is much greater. Outside of Marvin Gaye, Stevie Wonder and Smokey Robinson, Hutch was arguably Motown's top male solo artist of the 70s. Prior to his association with Gordy et al, Hutch crafted his opening statements for RCA, two vital LPs that Be With Records is honoured to present today.His debut, Soul Portrait (1969), is an incredible slice of gritty, Southern-fried soul. Think Stax with a touch of Detroit sparkle. As a whole, the album demonstrates the self-contained act Hutch was, he wrote every tune on the album while also arranging and conducting for it. It features 11 timeless grooves, with a blend of beat ballads and undeniable dancers.
The album's centrepiece is undoubtedly the iconic, brooding minor-key masterpiece "A Love That's Worth Having". The album's most recognisable track, it's a towering ballad drenched in stylish, sliding horns and elevated by its stunning backing vocalists. It was famously sampled by Madlib to augment his soundtrack for Stones Throw's Our Vinyl Weighs A Ton as well as 9th Wonder for the Murs classic "Dreamchaser". Whilst one can understand these iconic beatmakers for leaning on the work of a master, you really need to own the track in its full, unedited glory.
Horn-heavy opener "Ain't Gonna Stop" is a funk-fuelled monster, Hutch's fatback vocal aided by a vicious drum 'n' conga rhythm whilst the bumping uptown soul of "You Can't Miss Something That You Never Had" anticipates the Motown-vibe that Hutch went on to create. Supple guitar licks propel the loping, head-nod breaks of "Good To The Last Drop" whilst "That's What I Call Lovin' You" features gospel piano and plaintive, tender vocal turn. Rounding out Side A, the blazing horns of "You Gotta Try" hints at the Blaxploitation that was to come.Ushering in the flipside, the thundering proto-70s-Motown rhythm of "Let Me Give You The Love You Need" segues neatly into the bouncing Northern Soul favourite "Lucky To Be Loved By You" whilst Hutch's gutbucket guitar stylings are all over the smouldering "Keep On Doin' What You Do". "Your Love Keeps Liftin' Me Higher" is not a rendition of the Jackie Wilson classic, rather, it's a powerhouse original that indicates where Hutch would take his sound on The Mack. Closing the album, the anthemic "Do What You Wanna Do" name-checks contemporary dance fads before instructing the listener to just get up and dance.Brilliantly supported by a heavy roster of studio cats who combined to create a winning combination of horns, strings, and gorgeous female background vocalists, Soul Portrait is as complete a soul album as the decade's very best. Tricky to find for a number of years, this lovingly produced reissue is certainly welcome. Paired with the soaring follow-up, Season For Love, these recordings shine a new light on the early work of a soul legend. Officially licensed and remastered for vinyl by Simon Francis, it has been pressed on audiophile 180g vinyl for the first time and features the original artwork and liner notes.

The acclaimed Kito Jempere joins Cherrystones and DJN4 on the label for 2020, with an album full of international minds. Working with array of collaborators across a cast of friends including Jimi Tenor, Wolfram, Hard Ton, Lipelis, Rich Thair (Red Snapper), Ruf Dug, Cedric Gasaida (Azari & III) and many more, presenting this, his third long play.

A hail of freedom of thoughts and voices before these changed times, recorded and shared across continents. Kito - following releases with DFA, Lo Recordings, Bordello A Parigi, Hell Yeah and Duca Bianco - acts as curator rather than conductor, the idea not to transform the contributions but allow them absolute.

Sending music and receiving back, nothing was touched to keep the truth and honour. From Tokyo to London, Berlin to his base in St Petersburg, trusting the chosen artists led to a broad palette, as his 4/4 driven funk expands with Jazz horns to Motorik percussion, Avant-Reich vocals to White Isle melodies, J Pop Balearics to Chanson stories wrapped around Club memories.

A true world meeting, crossing borders and genres. An eye on the dance floor and week long chill outs. With remixes from the likes of Samo DJ, Lipelis, Cable Toy and more to follow, this is more than Yet Another Kito Jempere Album.

September 2021 marks the 10th anniversary of Dome of Doom. Collecting 30 tracks spanning from 2011-2021, label founder Wylie Cable put together Decade of Doom as a reflection of the first pillar in a long and continuing story—and the many phases the label has experienced thus far. Decade of Doom comprehensively serves as a homage to many of the artists, people and experiences that tell the label’s story, splintering outward toward an abundance of communities that continue to nourish one another. These tentacles all leading back to the hand-selection of releases Cable has diligently been at the heart of since the first vinyl and cassettes were pressed.



[c] A3 Kenny Segal – Worlds To Run [VIP Dub]






















[z] D26 QRTR – And Still [Interlude]

For two decades now, Greensky Bluegrass has been building an empire, brick by brick. Their eighth studio release, Stress Dreams was produced by Dominic Davis (Jack White) and Grammy winning engineer/producer Glenn Brown amidst the 2020 pandemic. It follows their 2019 release, All for Money, which landed on the Top 100 at the Billboard Albums Chart, Top 20 at Independent Albums and Current Country Albums, Top 10 at Americana/Folk Albums Top 5 at Heatseekers, and #1 at Bluegrass Albums. Greensky is widely known for their dazzling live performances and relentless touring schedule. As with traditional bluegrass, the band writes about their own contemporary day-to-day happenings, emotions, and experiences in the modern world. Their die-hard fans pack out venues across the country. They travel in droves and sell out multiple-night show runs at iconic venues like Red Rocks and The Ryman.

We Are FTR welcomes Haf to the label as the collective returns with the talented artist's Foreign Dreams EP. There's much to enjoy here starting with the powerful driving opener "Paranoia", a dark and heady affair perfectly suited to keeping things moving into the small hours. "Shamooli" follows up with intricate shuffling hats, groovy bassline and plenty of atmospheres to get lost in. The immersive and meditative cut "Urgull" stretches out over the full B-side rounding off the EP in fine style with a more laid back feel.

Brion Starr lives and works in New York City, joined by a group of foreign and domestic collaborators. Their latest album 'A Night To Remember' is a meditation on night itself, a spinning sci-fantasy through this future darkness we all contemplate, a journey to the end of the night told as a story of one evening in an internationalist future city with no up and no down, no beginning and no end. Passing through the seedy clubs, with all their trappings, when the night is just turning into morning. Have you lost your mind? Blackout and wake on a train. Is this a dream? We are nocturnal. There’s fire in the streets. The first tier looks down on you. So find the ones you love and hold them tight.
Recorded at the Chateau d’Herouville and produced by Tony Visconti (David Bowie, T. Rex, Sparks).
Starr’s current collaborators include Jaie Gonzalez (Splashh), Hayden Tobin (Hanni El Khatib), Pete Sustarsic (Public Access TV), James Hurst (Beach Party), Ben McConnel (Beach House), Grace Kennedy, Charlie Sands, and composer Nigel Wilson.
“We had a listening party when we finished, Tony was so happy that day, he told me he hadn't had a listening party in "probably 30 years" (and we were in the middle of the pandemic!) I smile when I think of him suggesting we do it. It was a true celebration, I still have the cork from the champagne!”

This recording is dedicated to nomads, space travelers, free spirits that visits earth for a brief time to make a mark here on their way to other worlds. They leave traces on tram wagons, walls and in our minds in our cities before moving on into the unknown. Especially one.

A slow build up to a jungle crescendo is how “Iris” develops. This is a fine example of how Fontän effortlessly makes crossover music – no compromises needed in neither end of the spectrum, this music flows naturally. The dreamy music box-sounding intro of “Mast” falls into a deep half beat where warm E-bow guitars and sweeping synthesizers carries the music higher and higher away from the ground.

These two tracks are a peaceful homage to all the cosmic kings and queens that have spent time here on earth. Safe travels!

Black Truffle is pleased to announce For McCoy, a new work by Eiko Ishibashi dedicated to the widely loved character of Jack McCoy, portrayed by Sam Waterston in Law & Order. Following on from Hyakki Yagyō (BT064), For McCoy finds Ishibashi further exploring the unique space she has carved out in recent years, bringing together musique concrète techniques, ECM-inspired jazz, lush layers of synths and hints of pop into immersive and affecting structures crafted in her home studio, aided by a group of close collaborators.

Beginning with overlapping layers of descending flute lines, the expansive ‘I Can Feel Guilty About Anything’ (whose two parts stretch out over more than thirty minutes) unfolds with a free-associative logic, embracing dreamlike transitions and unexpected cinematic cuts. As a hovering cloud of synthetic tones and multi-tracked voices fans out from the spare opening moments, Joe Talia’s skittering cymbals settle into a gently propulsive groove, soon joined by melodic fragments performed by Daisuke Fujiwara on multi-tracked saxophone. As the drums cede to field recordings and ominous synth figures, the uncommon meeting of saxophone and electroacoustic techniques call to mind the more spacious moments of Michel Redolfi and André Jaume’s Synclavier-propelled oddity Hardscore or the early work of Gilbert Artman’s Urban Sax. As the piece continues on the LP’s second side, distant dialogue rumbles beneath a surface of processed flutes, blurring into a cavernously reverberant backdrop for stark ascending lines performed by MIO.O on violin. Eventually, the piece settles into a gorgeous passage of abstracted dream pop, where Ishibashi’s multitracked vocal harmonies glide atop synth chords, errant pings and snatches of outdoor sound.

Fragments of melodic material reappear throughout the spacious opening piece, finally stepping to the forefront on the closing track, ‘Ask Me How I Sleep at Night’. Here, over a shuffling groove supplied by Jim O’Rourke on double bass and Tatsuhisa Yamamoto on drums, layers of flutes, saxophones and guitars sound out melodies whose combination of twisting irregularity and soulful immediacy calls up prime Keith Jarrett, while their closely voiced harmonies suggest Kenny Wheeler or even Wayne Shorter’s Atlantis. In a classical gesture of closure, the web of melodic lines eventually leads back to the descending flute figures with which the record began. Presented in an immersive, impeccably detailed mix by Jim O’Rourke and arriving in a sleeve featuring Ishibashi’s beautiful drawings of Jack McCoy, For McCoy is an essential release for anyone following the enchanted and unique path being forged by Eiko Ishibashi.

Ici Sans Merci releases at his imprint AURA with his debut EP. An original soundscape with a clear signature by the labelboss.

King Gizzard & The Lizard Wizard announce an album of remixes of tracks from ‘Butterfly 3000’, their second studio LP of 2021 alone. ‘Butterfly 3001’ features reworks courtesy of (among others) DJ Shadow, Donato Dozzy, The Scientist, DāM-FunK and The Flaming Lips!


"We’ve put off doing a remix album for a long time. Maybe it was conscious, maybe it wasn’t. But it’s happening now. That’s not to say that Butterfly 3000 makes the most sense to remix. It might seem like the obvious one, but it’s not. Yes it’s electronic. But so is a fridge. Have you tried to dance to Butterfly? It’s hard. It ties your shoelaces together. It’s duplicitous in it’s simplicity. But Butterfly 3001 expands on this. It also deviates and obliterates. We’re honoured to have such esteemed people go to work on these songs. We hope you love this album as much as we do. See you in Da Club!!!" - Joey Walke

Six months on from the release of their critically-acclaimed fourth album, ENTERTAINMENT, DEATH, Philadelphia trio SPIRIT OF THE BEEHIVE closeout 2021 with brand new 7” THE DOOR, comprising two previously-heard but never physically released songs in “THE DOOR IS OPEN” and “THE DOOR IS CLOSING”.

A special and limited release, 500 copies of the single have been pressed on cloudy teal vinyl. The 7” is led by “THE DOOR IS OPEN”, a 2020 single that marked a new chapter for the band ahead of the release of ENTERTAINMENT, DEATH. The song “continues to defy definition”, Stereogum said upon its initial release, before adding: “It’s amazing that they made such a short track feel like such a dreamy journey.”

It’s backed by “THE DOOR IS CLOSING”, a bright and skewed gem of a track that was originally released earlier this year via Through The Soil, a charity compilation that benefited the NAMI COVID-19 Mental Health Support Fund.

Whether opened or closed, THE DOOR is a bold reminder of SPIRIT OF THE BEEHIVE’S many layered and colourful ideas. It also ribbon-ties a brilliant 2021 for the band, one which saw ENTERTAINMENT, DEATH labelled as “an intensely beautiful, intensely difficult record” by Pitchfork, a “sprawling odyssey of haunting dissonance and blissful euphoria” by Flood Magazine, and a "storm of sound with a deep humanity coming through” by Fader.

SPIRIT OF THE BEEHIVE is Zack Schwartz, Rivka Ravede and Corey Wichlin.

HIFILOFI SCIFIWIFI is the debut solo album from Gale P, best known as the co -founder, guitarist and occasional singer of acoustic-indie stalwarts Turin Brakes.

Born in Tehran, based in Brixton, Gale Paridjanian was raised in the multicultural melting pot of South London in a family home full of musical instruments. He picked up a guitar at a young age and launched himself onto his musical arc.
A lockdown break from touring provided the space to explore fresh creative directions, inspirations and collaborations. Gale brought all these into his home studio to stitch together into a compelling set of personal songs; “I’d go around London looking for inspiration, bring it back to my garden shed and create freely, attempting to turn into sound what I’d seen that day - a painting, a fight, a story overheard. But sometimes I’m just trying to make music I want to hear, like a home-made Shazam playlist.”
Everything is tied together by Gales’ authentically lo-fi production, intimate vocals and sultry acoustic guitar, floating across dreamily trashy beats and subtle offbeat electronics.

Newly remastered audio.
LP pressed on black vinyl & housed in a gatefold jacket.

Willie Nelson’s 1996 album Spirit is an emotional concept album illustrating the forlorn tale of a man abandoned by the great love of his life. We follow him down the path of loss as he confronts grief, gets back on his feet, and eventually finds solace in acceptance. While producing Spirit, Nelson assuredly knew the commercial risks behind releasing an album this melancholic. After all, in 1973 he himself wrote: “sad songs and waltzes ain’t selling this year.” Beloved by those familiar with Nelson’s deep catalog, Spirit largely slipped through the cracks in the mainstream, but remains highly revered amongst critics and fans alike.
Backed by legendary country fiddler Johnny Gimble (of Bob Wills and His Texas Playboys), sister Bobbie Nelson on piano, and his longtime touring guitarist Jody Payne, the song-cycle is anchored by lilting Spanish-inspired instrumentals that absorb a lonesome gravity when placed next to ballads that tug at even the most unwavering heartstrings. Likened to Bob Dylan’s Time Out Of Mind or Waylon Jennings’ Right For the Time, Spirit sees Nelson maturing most gracefully: he trades rousing sing-alongs and saloon tunes for gut-wrenching lyrics and instrumentation of greater precision and skill, proving this release as deep and as challenging as his career-defining albums released twenty years before.
Originally released by Island Records in 1996, Spirit is newly remastered and housed in a gatefold jacket. This is a chance to own this unique album in its most beautifully presented form.

»Infuso Giallo aka Philipp Carbotta originally hails from rural Western Germany, first cut his teeth in the music scene of nearby Cologne and conducts a host of activities in Berlin for a couple of years now – co-running the label Kame House, designing graphics and producing and playing leftfield electronic music. His debut LP Ocular Soda presents an intersection of these activities – self-released, self-designed and of course self-produced. Even before the first synth chords and reverse atmospheres of the two-part opener 'Every Waking Hour' tickle the ear, it is the eye that is drawn to the bright, cut-out style cover art – itself made up of two eyes on the front and what seem to be their rough shapes or discarded counterparts on the back.
To stay within that metaphor, Infuso Giallo's music is indeed of a reflective and calm nature, taking cues from Berlin School, library and New Age musics from roughly the 1970s to the 1990s – steadily repeating and slowly evolving ostinatos, lush digital pads, quirky filtered toplines and electronic percussion that mostly eschews four-four monotony in favor of much more subtle syncopations. Balearic bomb 'The Big Rip' with its big drums and acid bass turns the energy level up a notch while retaining the somnambulistic, lingering quality that makes Ocular Soda such a coherent listening experience – music on the sheath of waking and dreaming, both worlds and their inherent logics freely bleeding into each other. There are moments of great expanse, such as in 'Mole Gaze' – I couldn't help but see myself hovering somewhere in mid-air while the music unfolds as if on a great deserted plane below me. Maybe this is what it sounds like once the mole leaves his tunnels and takes in the sound of the world overground. 'Hello World', indeed, in its multitude of information to eye and ear, in its gently overwhelming quality. The title track 'Ocular Soda' closes the proceedings with a whimsical nod to 1970s botany-centered library music, its brooding chord sequence and sweet lead lines gradually fading in the distance. A fitting ending to an impressive LP of highly evocative, at times sombre and at times blissfully naive pieces that leave me yearning for more.«

Written, recorded & produced by Infuso Giallo in 2020 & 2021 in Berlin. Mixed by Philipp Janzen & Sebastian Blume at Dumbo Studios, Cologne. Mastered by Sam Irl in Vienna. Design by Infuso Giallo.

King Gizzard & The Lizard Wizard announce an album of remixes of tracks from ‘Butterfly 3000’, their second studio LP of 2021 alone. ‘Butterfly 3001’ features reworks courtesy of (among others) DJ Shadow, Donato Dozzy, The Scientist, DāM-FunK and The Flaming Lips!

"We’ve put off doing a remix album for a long time. Maybe it was conscious, maybe it wasn’t. But it’s happening now. That’s not to say that Butterfly 3000 makes the most sense to remix. It might seem like the obvious one, but it’s not. Yes it’s electronic. But so is a fridge. Have you tried to dance to Butterfly? It’s hard. It ties your shoelaces together. It’s duplicitous in it’s simplicity. But Butterfly 3001 expands on this. It also deviates and obliterates. We’re honoured to have such esteemed people go to work on these songs. We hope you love this album as much as we do. See you in Da Club!!!" - Joey Walke

Lo-Fi was rather an involuntary attribute in the 90s. 90s hip hop instrumentals with the sound aesthetics of old 12-bit samplers are the blueprint for everything that runs under chill and lo-fi beats today. For this double LP, SEPALOT dug deep into his demo box, listened to countless DAT cassettes and dug up 36 pearls from the period 1996 - 2002.

Sepalot: "I had to laugh a lot at times and was sometimes embarrassed, but the innocence of the early days also has an insane power. The best beats demos and sketches from my early days now get their moment."

Adam Arthur's tunes like "Down Down Falling Down" are pure somnambulist groove, a uniquely bizarre form of hypnosis that drifts through the dream state into our realm and back, deeply interdimensional. The loose and dirty power of "When I Touch You" still surprises me every time I hear it, the most gentle yet powerful and compelling sleazy house song I can imagine. Many of his sides are represented here, including his experimental formless ambient side in the shape of "Tearing the Television Sky" and the digital bonus track "The Forbidden Creature". "The Bard's Tale" closes the EP and balances his hypnotic dream state logic with Azerbaijani Mugham music in something that feels like it would be equally at home on Livity Sound. Live the dream with his debut release on Interdimensional Transmissions.

Yellow Marbled Vinyl

A Franco-Italian production of the latest vinyl de-luxe of Ryan Paris, recently released in a strictly limited edition in three colors (yellow, spottled, fuchsia). On the side A of the EP we find ''Tarzan Boy'' (Baltimora) which peaked at # 2 for 5 weeks in Musicbox live France and the 80's remake of ''Always On My Mind'' (Pet Shop Boys). On the flip side the Club Mix Version and the 80s disco-club remake of ''Dream'' by P. Lion (# 8 also in Musicbox live France)- The release also contains the autographed postcard of the Italo-disco icon Ryan Paris (Dolce Vita) for all the aficionados of the fantastic music of the 80s.

With a little patience and a lot of finesse, Jakobin & Domino cooked up a fine new five track House EP for Luv Shack Records.

The eponymous opener "Lost Memories" effortlessly blends jazzy rhodes and emotive string samples with a funky percussive track and a stomping four to the floor beat.

"Hypnotica" delivers what the title suggests; haunting arpeggios go hand in hand with eerie 7 chords and hushed vocal samples, albeit with a jacking groove laying the foundation.

On "Molecules", Jakobin & Domino evoke classic Chicago house vibes with a shuffling beat, a funky synth bass and uplifting chord stabs to boot.

The arguably most classic J&D sounding track on the EP is "Needed", a hard hitting joint that blends a sombre piano chord progression with dreamy acid lines, evoking major dub house feelings.

"Unbogeba" is a laid back slice of deep house that nicely wraps up the EP, with a lingering afro vocal sample and super lush organ chords, it's the perfect track for hazy afterhours.

Iconic Live trio, DJs & Producers Aroma Pitch are back on Public Possession. After having released their Maxi EP “Oxi Rain / Water Air Water” we are very proud to deliver the follow up, their debut Album “Interlife”. Connecting the dots between multi faceted musical influences this Album is bringing together a long legacy of headphone listening to Jazz, jamming in Studios & Clubs, performing on Raves, soundtracking car rides and musically up-lifting daily lives. We have been fans for years and this incredibly diverse record is setting it into stone. Jesse, Julius & Magnus won our hearts forever.
If you haven’t already, now it’s time for you to get involved!

Aussie producer Captn K is dishing up another great slice. This time Marvin Gaye's Get It On goes from slow sex chant to upbeat sex bomb. It still maintains its smoothness with joyess synth stabs and a grooving electro 808 breakbeat. I Need Some Loving with a repative sample and hook has no kick and just begs to be slipped under some minimal beats. Side B sports Captn k's signature style in the form of an 8min dream wrapped in vinyl. It Will Take An Eternity To Break Us is littered with uplifting vox samples and the most gorgeous pads, you will lose time listening to this one.

Hypernatural, comprises of Dan Whitford, better known as one of the pillars of Melbourne heavyweights Cut Copy, Mirko Vogel, the engineer extraordinaire who has recorded for Modular and Room40, and Mike Gamwell, also known as Knightlife, who’s racked up several releases on Cut Copy’s own Cutters Records. You could say their roots are in Melbourne, Australia, but it seems unfair to pinpoint the trio to any specific location.

That’s because their sound lies somewhere deep in misty forests, or half-remembered dreams and subconscious wells of ancestral emotion. The transformative power of these 7 tracks was no accident however. The music was pieced together during two trips - one to the remote Swedish coast and another to the Scottish highlands. The three producers used a set of guidelines that allowed each of them to compose and arrange tracks separately yet collectively, like a connected Oblique Strategy. They took inspiration from the stark beauty of their natural surroundings, which had a huge effect on the music they were making.

The resulting tracks inhabit a world of their own, full of shimmering arpeggios and drifting pads, taut drums and sound effects. The opening track Longboat cruises into view with white noise washes and galley master rhythms, conjuring Old Norse battleships and a sense of sailing the open sea, destination unknown. The single Stormfront is a depth-charged deep house burner, bristling with atmospheric energy and rolling like thunder. With its cascading synth arpeggios and weighty drops, it swells like moody clouds on the horizon and releases tension like the first rain of a summer storm.

Hypernatural particularly succeeds in its world-building, and there’s a cohesion to the tracks despite their many differences in tempo and style. Spirit Walk joins marimbas with modular pulses, as well as slide guitar and snappy shakers, to bring out some Ry Cooder swagger. Unknown Caller taps into the phone line at the speed of 5G, sending breakbeats down the wire on a cold calling mission to recruit ravers for the next after hours. But there are also tracks nodding to blissed-out comedowns and daydreams. Both Changing Tides and New Dawn slow down time to an introspective moment, a catch of the breath, the witness to a beautiful moment. Album closer Valley harks back to classic rave-era ambient, an avalanche of optimism down a majestic mountainside.

Hypernatural evokes panoramic vistas and serene countryside, and you could certainly imagine it soundtracking a hike along coastal hills, or a field at a festival. But it also resides beyond the pastoral, finding a home in airport departure lounges and autobahn service stations, until it eventually settles down inside us - even without the headphones on.

Stormfront
Hypernatural’s single Stormfront is a depth-charged house-tempo burner, bristling with atmospheric energy and rolling like thunder. With its cascading synth arpeggios, raindance incantation and weighty drops, it swells like moody clouds on the horizon, and releases tension like the first rain of a summer storm.