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After a hiatus of five years, The Pearlfishers, Glasgow"s finest, return with their ninth album for Marina - most probably their best and most immediate one so far. Driven by main man David Scott"s exceptional songwriting and sophisticated arrangements, Making Tapes For Girls is a goldmine of pop gems - full of witty & colourful lyrics about the affirmative & healing power of music and pop escapism. The title track evokes memories of those days of compiling a C-30/60/90 for your loved one or secretly adored one: "I didn"t know how to say the right thing / So I left it to Joni and Paul...". Those mix tapes that came straight from your heart & soul - "the nub of it, the truth of it, the "you" of it." It is another Pearlfishers classic in the vein of My Dad The Weatherfan and Even On A Sunday Afternoon and also David Scott"s nod to Terry Hall"s The Colour Field.

After a hiatus of five years, The Pearlfishers, Glasgow"s finest, return with their ninth album for Marina - most probably their best and most immediate one so far. Driven by main man David Scott"s exceptional songwriting and sophisticated arrangements, Making Tapes For Girls is a goldmine of pop gems - full of witty & colourful lyrics about the affirmative & healing power of music and pop escapism. The title track evokes memories of those days of compiling a C-30/60/90 for your loved one or secretly adored one: "I didn"t know how to say the right thing / So I left it to Joni and Paul...". Those mix tapes that came straight from your heart & soul - "the nub of it, the truth of it, the "you" of it." It is another Pearlfishers classic in the vein of My Dad The Weatherfan and Even On A Sunday Afternoon and also David Scott"s nod to Terry Hall"s The Colour Field.

Barro Music Label reaches its tenth reference with a tremendous EP in which the protagonist (even of the cover) is Nöle, the label's boss. In Electro Bloody Music, the popular DJ and producer from Pamplona delivers four original tracks accompanied by a fantastic remix by Delectro. The renowned Colombian producer, active since 2006, has released on some of the best international labels and with his 80s EBM, electro and techno influences, he is the ideal person to accompany the label boss on such an important release. As for Nöle, after the success of Mendekua, his previous work released in 2022, he does what he is the best at: dark and frenetic techno with EBM flavor, like the one he played during his long residency at Stardust and does now at Lasociación.

On the A-side of Electro Blood Music we find three originals, the first two could be included in the category of Techno Body Music while the third is more purely techno. The EP starts with BuruHilketa, a dark track with a certain experimental atmosphere endowed with an incisive synth line and disturbing vocal samples that accompany us during most of the composition. Shaktale, shares some of the atmosphere of the first track, as it also includes vocal samples and a eerie synthesizer melody quite catchy. It has quite a complex rhythm and an extremely careful production that we recommend listening with headphones to appreciate in detail. Cementerio caliente is powerufl techno track, with hypnotic synths and an acid touch and tremendously forceful. With this kick drum, you could definitely demolish a house!

On the B-side we find another original track titled Noisebuilder and the remix by Delectro. Noisebuilder, with its fat and aquatic basses starts off more techno but, little by little, it also includes EBM details. The track lives up to its name and the noise builds, little by little, layer by layer while the intensity keeps growing. With a hard-hitting beat, spiced in the background by synthesizers that help to create an atmosphere, it is one of the clearest bangers of the EP. Delectro delivers a remix a little more forceful and darker, a bombshell of pure Techno Body Music that closes this magnificent EP.

Release note: El Garaje de Frank

Field Records takes a look into the vast catalogue of Celer, the prolific ambient project from Tokyo-based artist Will Long. Perfectly Beneath Us was originally released in 2012 as a CD-R on Still*Sleep, and now it’s being presented as a vinyl release remastered by Stephan Mathieu.

Celer began in California as a collaborative project in 2005 between Long and Danielle Baquet, resulting in reams of self-released work up until Baquet passed away in 2009. Long opted to keep their project going, and Celer has continued to grow as an expansive exploration of purest ambient. Meanwhile Long’s solo work under his own name has been equally accomplished, with scores of releases on DJ Sprinkles’ Comatonse Recordings and respected Norwegian leftfield label Smalltown Supersound.

With such a sizable library of sounds to explore, the reissue of Perfectly Beneath Us serves as an ideal entry point into the Celer catalogue, presenting four pieces of sustained, glacial movement wreaking profound emotional impact from the subtlest methods. Long exercises the utmost patience from the shorter ‘Distressing Sensations’ and ‘Ultra-terrestrial Yearning’ through to the 10-minutes-plus stretches of ‘Slightly Apart, Almost Touching’ and ‘Absolute Receptivity Of All The Senses’.

It’s truly immersive, captivating drone music that rewards the attentive listener as much as it soothes the casual drifter. Originally limited to just 100 copies in 2012, it’s now beautifully framed on a carefully considered reissue which adds to Field’s own repertoire of evocative, subliminal electronics.

About Field Records
Field Records has been publishing versatile electronic music from a string of high-principled artists since 2008. Firmly rooted in minimalism and modesty, the label gained a reputation for its versatile and atmospheric output - which includes works from the likes of Artefakt, ENA, Imaginary Softwoods, Monolake and SUGAI KEN.

Grammy-nominated Kim Richey returns with her first album of new music in six years. The album's 10 tracks share a common thread of nostalgia and longing for times gone by. The album, except for one song, was produced by Doug Lancio in Nashville. Piano, flugel horn, pipe organ and acoustic guitars elevate these songs to a place that defies genre, but live somewhere in the folk, country, rock universe and illustrate what an incredible songwriter and singer Kim Richey is.

"The outsized sounds emerging from the Excelsior Mill organ captured here constitute a unique chapter in the Sun Ra story, a dizzying phantasmagoria that offers a whole new view on what Ra could do. It might thrill you; it might unnerve you; it might strum your heartstrings; it might spook the living daylights out of you. Most likely you’ll experience all of the above before the jolting musical jeremiad is done. The CD includes the full uncut show with music not featured on the LP version!

When you’re Sun Ra, you don’t need synthesizers to evoke apocalyptic visions and interstellar excursions. You don’t even need a band.

Ra is most widely known for working with various iterations of his Arkestra, but he was no stranger to unaccompanied keyboard expeditions. His discography contains solo piano albums, solo Fender Rhodes records, and solo recordings on conventional organ, the latter going as far back as his home recordings from the 1940s. But none of those instruments ever offered Sun Ra the kind of sonic artillery that waited beneath his fingers and feet when he sat before the keyboards, pedals, and multicolored constellation of tabs controlling the Wurlitzer pipe organ.

Mystic and magisterial, Ra comes off here like a cross between a demonically riffing ‘50s horror movie villain and a futuristic congregation leader delivering the interplanetary gospel. Brassy stabs provide the kind of punctuation that could be graphically rendered as an endless string of exclamation marks in 500-point font. String-like swoops and swirls dance across the top of the carnage, cooling the flames just enough to keep the whole thing from combusting (for a while at least) but never dousing the fiery fury that Ra draws forth from the instrument.

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

: League of Legends Worlds is an esports championship like no other — not only prestigious, but gargantuan in scale and chock full of production grandeur. A culmination of each LoL season, Worlds is the place for the very best League of Legends players to come together and compete at the highest level, battling for the Summoner’s Cup, a multi-million dollar prize, and, of course,
eternal glory.

An eminent event like Worlds demands a legendary theme song to match. Each year, Riot Games taps talented superstar musicians to craft a new Worlds Anthem, performed live at the competition and released later with a music video to match. These themes, from incredible artists like Zedd, Lil Nas X, and now, for 2023, NewJeans, have never been collected together on a single vinyl release — until now.

iam8bit and Riot are proud to present League of Legends Worlds Anthems (Vol 1: 2014-2023). It’s a full decade of Worlds Anthems, collected together on two sides of a 1xLP for the very first time. We knew this illustrious release deserved a very special vinyl treatment. That’s why we pressed the record on a Worlds Blue Vinyl. Plus, it wouldn’t be an iam8bit release without fantastic cover

art to adorn your record shelf, so we tapped our pals at Envar Entertainment to craft amazing illustrations celebrating the past, present, and future of the League of Legends Worlds Championship.

Legends never die. Celebrate a decade of Worlds in style with this one-of-a-kind release.

Clean Hands Go Foul (2009) generously offers more of everything: voluminous drones, clashing dissonance, mysterious subharmonic swells, escalating terror, and environments drenched in heavy anticipatory dread. The final hour of the band's first decade sees Khanate, as always, making "music that, even in the realm of extreme music, is dark and distorted" (Pitchfork). Clean Hands Go Foul would be followed by the ultimate minimalism, as the Khanate entity sat shrouded in silence until the release of 2023's To Be Cruel.

It’s burning, everything is catching fire, and Aquaserge are singing and dancing on the embers of a world contemplated in a rear-view mirror. A world which is hyper-connected, yet forgets its primary emotions.

This seventh album by the band is an ecological poem, where present and past collide. A resolutely rock-sounding album, laced with electronics, experimental pop songs and audio archives. Along the way, the listeners will encounter traces of Oulipo (the famous experimental French literary movement founded in the ’60st), Dada and free jazz. They will cross paths with the ghosts of Ennio Morricone, Walter Benjamin and Marguerite Duras, with the shadows of Kim Gordon and Brigitte Fontaine. And other audacious and exciting melanges, in the pure tradition of Aquaserge.

The album was arranged and produced by Benjamin Glibert, the band’s guitarist and main composer.

The recording took place in a house located in the french countryside (where Aquaserge’s mobile studio was installed). The mix was done at Studio St Guidon in Brussels, the album was mastered by the legendary Dominique Blanc-Francard at the Labomatic studio in Paris.

The members of the band’s current line-up all took part in the recording: Audrey Ginestet (vocals, bass, guitar, etc.), Benjamin Glibert (vocals, guitar, keyboards, etc.), Olivier Kelchtermans (saxophones, keyboards, vocals, etc.), Manon Glibert (clarinets, vocals, etc.) and Julien Chamla (drums, vocals, etc.).

Pål Waaktaar-Savoy has explained that much of the atmosphere and the lyrical themes of Savoy’s seventh album “Under” are drawn from his move with his fellow songwriter and wife Lauren Savoy to Los Angeles, where they found themselves surrounded by loneliness.

Waaktaar-Savoy is one of the most prolific and impressive songwriters of the twentieth century and beyond, and having been working at the very top of the music industry for as long as he has, it is no surprise that the record is well-crafted. The production is good, with careful arrangements and instrumentation. Every instrument’s voice is given room and there is space in the mix. Only occasionally does this slip over into over-production, as with the treated strings on the opening track “Lonely Surfer” or the treatment of Lauren’s vocals, which sound overly processed.

It is also true that the record exhibits a fair measure of melancholy. The chords and melody lines are dark in places, and there is a hint of sadness in the lyrics, many of which have a retrospective quality, describing moments in the past. However, beyond this, the understated feel of the record is just that – understated. Many of songs feel a few RPM too slow and the delivery of the vocal lines too underplayed to give them any emotional authority. At times, it also seems like the arrangement has to step in to bolster the songwriting or lyrics, by filling space with strings or brass, or the counterpoint of the instrumentation on “Camden Palace Chronicles” which distracts from some fairly mediocre words. It is important to emphasise that this is a joint songwriting exercise for Pål and Lauren, so we should not compare the output to the work of a-ha, but still, the themes lean in the direction of suburban banality, far from Pål’s more oblique or allegorical writing.

There are other moments of real quality beyond the production and arrangement. The title track has an excellent Bowie-esque chorus (and there are echoes of his work and sound throughout, along with Beatles and Beck), “The Life and Times of a Wannabe” has some first-rate guitar work on it, edgy riffs and some good textures. Likewise, “Coming Down”, which also exemplifies Frode Unneland’s drumming on the record, which is generally prominent in the mix, and with good reason, as it carries the record along well.

Pål Waaktaar-Savoy has explained that much of the atmosphere and the lyrical themes of Savoy’s seventh album “Under” are drawn from his move with his fellow songwriter and wife Lauren Savoy to Los Angeles, where they found themselves surrounded by loneliness.

Waaktaar-Savoy is one of the most prolific and impressive songwriters of the twentieth century and beyond, and having been working at the very top of the music industry for as long as he has, it is no surprise that the record is well-crafted. The production is good, with careful arrangements and instrumentation. Every instrument’s voice is given room and there is space in the mix. Only occasionally does this slip over into over-production, as with the treated strings on the opening track “Lonely Surfer” or the treatment of Lauren’s vocals, which sound overly processed.

It is also true that the record exhibits a fair measure of melancholy. The chords and melody lines are dark in places, and there is a hint of sadness in the lyrics, many of which have a retrospective quality, describing moments in the past. However, beyond this, the understated feel of the record is just that – understated. Many of songs feel a few RPM too slow and the delivery of the vocal lines too underplayed to give them any emotional authority. At times, it also seems like the arrangement has to step in to bolster the songwriting or lyrics, by filling space with strings or brass, or the counterpoint of the instrumentation on “Camden Palace Chronicles” which distracts from some fairly mediocre words. It is important to emphasise that this is a joint songwriting exercise for Pål and Lauren, so we should not compare the output to the work of a-ha, but still, the themes lean in the direction of suburban banality, far from Pål’s more oblique or allegorical writing.

There are other moments of real quality beyond the production and arrangement. The title track has an excellent Bowie-esque chorus (and there are echoes of his work and sound throughout, along with Beatles and Beck), “The Life and Times of a Wannabe” has some first-rate guitar work on it, edgy riffs and some good textures. Likewise, “Coming Down”, which also exemplifies Frode Unneland’s drumming on the record, which is generally prominent in the mix, and with good reason, as it carries the record along well.

repare to embark on a transcendent auditory journey with "The Sevens” a series of four 7-inch vinyl records that unveil a treasure trove of previously unreleased tracks from A Place To Bury Strangers' critically acclaimed 6th album, "See Through You." Renowned for their visceral sonic assault and immersive live performances, A Place To Bury Strangers has cemented the end-all-be-all space for over-the-top post-punk / shoegaze destruction. With this special vinyl collection, the band invites listeners to delve deeper into their sonic universe, exploring uncharted territories and hidden gems. “You'll Be There For Me” / “When You're Gone” is the fourth release. “When looking back at the recordings that were done around the time of See Through You there were a bunch of great tracks that just captured life back then and really had something incredible going on. Even though they are a bit raw and a bit personal, I thought it would be a mistake if they didn't come out. I thought it would be best to go back to my roots and put out a series of 7"s the way A Place To Bury Strangers started. That strange weird format where the tracks each speak for themselves, no album context to muddy the water. These tracks are such a contrast to the way I am feeling now and the current songs we've been working on so slip back into this moment in time.” says APTBS’ Oliver Ackermann

Limited to 500 LPs and 500 CDs. New album from the most danceable post-punk pop band in the UK. It's like something has exploded! CRUMBS have been incubating this, their second album, for a few years now. Who knows how they kept all the energy in check. It must have been like sitting on a volcano. The songs burst out with pure pop fire, sending splinters of guitar, sharp lyrics and snatches of the catchiest backing vocals. The rhythm section (Jamie and Gem): it's like Delta 5 meeting Le Tigre in a dark alley in Leeds, fusing blindly and completely, and then forcing its way into the back entrance of a venue, sending volts through the limbs of the unwitting punters, forcing them to dance. This is TIGHT. And as the lights come on and the indie kids throw themselves around, Ruth's vocals sweetly assault their ears with anger, joy, political intelligence - and all around, Stuart's guitar, sometimes twangly-melodic like the B52s, sometimes sweet and ringing like a memory of Scars, sometimes furious and feeding back, keeps you alert and thirsty for more. These songs do NOT outstay their welcome. Starts and ends are cut hard: no pre-echo, no wistful, drawn-out regretful fade-outs. CRUMBS have imbibed the key lessons taught by The Gang Of Four and The Au Pairs: never let the energy dissipate. But there is more than anger here. The band have smuggled a pop sweetness into the disciplined shapes of their angular songs. You're Just Jealous has sharp edges, but it's generous too. The album will be available as a vinyl LP, CD, download and on streaming services. CRUMBS - a brief history. They are based in Leeds, where they are active movers in the DIY scene that currently thrives in the North of England. They recorded a Marc Riley session in 2016, released their first album (on Everything Sucks) in 2017, toured extensively in 2018 and 2019, playing at the Brudenell Social Club with Swearin' and Jeffrey Lewis, and at plenty of fests such as LaDIYfest and Specialist Subject's birthday all dayer in Bristol, A Real Cool Fest in Bradford, Mousetival in Stockton and the Cambridge Indie pop Alldayer. They spent the pandemic creating these new, tightly-wound, irresistible pop songs. These are the people in CRUMBS and these are their influences: Stuart (GUITAR) - Bauhaus, Gang of Four, Shop Assistants // Gem (DRUMS) - Beat Happening, The Raincoats, Antelope // Jamie (BASS, BACKING VOCALS) - Delta 5, ESG, Chic // Ruth (VOCALS) - The Go-Go's, Mika Miko, Paint It Black Collectively - 80s pop music

"Everything's been fucked since David Bowie died or they started up the Hadron Collider" say The Janitors. This feeling is epitomised in the title of their riveting new album: An Error Has Occurred. Marking over two decades of activity for the Swedish psych-rockers, the recording is informed by heartbreak and loss as well as the dismal state of the entire planet. For The Janitors, these two polarities intertwine constantly: "What's personal is political and vice versa." To channel their frustration and anger, the band revived certain songs they'd shelved during the pandemic when working on the acclaimed Noisolation Sessions. They added others, written since, that suited the mood of sticking a middle finger up to the oppressive world around us. Whereas previous recordings were often layered up gradually, this time the full band (Henric Herlenius, Jonas Eriksson, Anders Thorell and Wilhelm Tengdahl) rehearsed intensely together before laying down everything live, over two days and nights, in a converted missionary church. The songs on Side A have the menace of Melvins, the swagger of The Stooges and the cosmic heft of The Heads. These are the more simply constructed and poppier pieces... or so the band believe. (One friend of theirs did consider this "delusional".) 'In A Bliss' acts as the album's radiant centrepiece. A palette-cleansing love song which recalls The Jesus And Mary Chain at their most starry eyed, it finds The Janitors searching for solace and strength in straightforward companionship. After this come the dronier numbers, drawn out with soundscapes and textures influenced by The Velvet Underground's sonic experiments and the equally immersive atmospheres of electronic acts like Massive Attack. Hence, 'Operator' swings threateningly like a space-rock Swans, while the approach on 'Farewell Spacegirl' is jazzier and more meditative. "It can be hard to muster up some, or even any, positive energy at this point in time," says Henric. "We are eternally grateful to have the creative output that this constellation gives us. Neither me or Jonas would probably be here, or be the same people we are, if it wasn't for The Janitors. We'll leave you with a quote from an old anarchist: 'Every society gets the criminals it deserves.'"

“All this I do for glory” is a reasoning and exploration of the machinations of ambition and legacy, an examination of the concepts of afterlife, and the first half of a doomed love story in the model of the greek tragedies. As a narra- tive, it exists temporally somewhere between 2015’s “Never were the way she was” (with Sarah Neufeld) and the 1st volume of the NHW Trilogy.

With this, his first solo outing since 2013’s “To See More Light”, Colin Stetson ventures into territory both familiar and strange. Here still, is the dogmatically stripped down approach to performance and capture (all songs recorded live with no overdubs or loops) but there is an immediacy to the album that belies a more invasive and thorough miking of the various instruments being utilized and a seeming influence drawn from the early nineties electronica of artists like Aphex Twin and Autechre, evident in the more pointed role played by the instruments’ many percus- sive elements.

There are ancestries, motivic and timbral, woven through these six songs that plainly anchor them within the shared universe of his Trilogy, though the overall experience is one of extreme intimacy, the sounds and imagery more tangible and immersive than previous offerings. The brief and brutal “In the clinches” recalls (or presages) echoes of songs like “Judges”, though now feeling like one has fallen down the bell of Stetson’s ancient bass sax- ophone itself. “Spindrift”, crystalline and serene, calls to mind the ambient works of Aphex Twin, while “Between Water and Wind” with it’s “Immigrant Song” swagger, relentlessly carves it’s way into the bedrock here, paving the way with an increasing focus on the minute and the minimal, with a deepened sense of patience shared by most of the album’s six tracks.

Engineered and mixed by Stetson himself, this album represents a decidedly independent approach across the entire creative process and finds him at the top of his game, both as a composer and instrumentalist as well as a producer.

"After an acclaimed run of performances at the National Theatre in 2018, Hadestown returned to London in February 2024 for its long-awaited West End premiere at the Lyric Theatre, Shaftesbury Avenue.

This Grammy award winning recording represents the Broadway show in its entirety. It features vocal performances by Reeve Carney (Spider-Man: Turn Off the Dark); Tony nominees Eva Noblezada (Miss Saigon), Patrick Page (Spring Awakening), and Amber Gray (Natasha, Pierre and the Great Comet of 1812); and Tony winner André De Shields (The Wiz).

Following two intertwining love stories - that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone - Hadestown, the 8x Tony-winning musical (including Best Score and Best Musical) by celebrated singer-songwriter Anaïs Mitchell, invites audiences on a hell-raising journey to the underworld and back.

Mitchell's beguiling melodies and innovative director and Tony Award nominee Rachel Chavkin's poetic imagination pit industry against nature, doubt against faith, and fear against love.

Performed by a vibrant ensemble of actors, dancers, and singers, Hadestown delivers a deeply resonant and defiantly hopeful theatrical experience. This album was produced by Grammy® winner David Lai (the 2009 West Side Story Cast Album) alongside Todd Sickafoose and Anaïs Mitchell, who also collaborated on Mitchell’s celebrated modern folk album Young Man in America. This is a new 2LP version in standard packaging making it cheaper than previous deluxe versions. 2 x 140g discs in a gatefold sleeve"

Aniara Recordings presents: the Genius Of Time Vocal Series. Building on their ever growing catalogue, it's time for a new path where Genius Of Time (aka Arkajo and Dorisbug) further investigate their deep affection for vocals. Rave Breaks paves the way: a radiant classic house leaning summer tune packed with uplifting notes, featuring the warm intimacy of Bassie Kay's voice. On the flip, the ethereal Endless takes a more introspective approach with vocal chops fused into a Genius of Time signature. Aniara's frequency for the sunny months ahead.

Following the resounding success of Rythm by Nature's first release by Nail, the imprint's second outing, "Deep Cuts", builds upon the previous momentum and introduces label owner SaPu for his first solo EP. "Deep Cuts" features three groove-drenched original works and a foot-stomping remix from Berlin-based groove master and sound wizard Tripmastaz.

Drawing from his 15+ years of experience in the scene, "Deep Cuts" displays SaPu's impeccable production skills and evident passion for deeper house grooves and hypnotic rhythms — the ideal music for extended dancing marathons. The EP's first track, 'Roll Out' (A1), is a classic, tech-house-infused banger: funky bass, filtered samples, and snappy percussion elements. Tripmastaz's version, 'Don't Let Joe Change the Name Dub' (A2), adds new layers of depth to the original, infusing it with dubby, sample-based elements and warm chords. SaPu's inclination for old-school grooves shines through on 'Clappin Iron' (B1), delivering Detroit tribal vibes punctuated by stabby synths and rolling basslines. Closing off the EP, 'Keep it Trill' (B2) provides a relatively stripped-down approach, allowing SaPu to demonstrate his innate skill in dubby sample manipulation.