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This soundtrack album, recorded with an orchestra, is based on the image album of ‘Whisper of the Heart.’ It also includes the main theme song, "Country Road."

All 8 of the Mad Professor remixes included here are previously unreleased and include his dub mixes of 2 tracks not originally featured on Mezzanine but from the same period – Metal Banshee – a dub version of Superpredators which was a cover of Siouxie and the Banshee’s Metal Postcard – and Wire, a track they recorded for the soundtrack of the film Welcome to Sarajevo.

Jawad Nawfal and Mazen El Sayed, better known by their stage names of MUNMA and EL RASS, met for the first time in Beirut, during the summer of 2011. A common friend told Jawad wonders about an MC who rapped and slammed in the classical Arabic language, as opposed to the vernacular Lebanese dialect. The two musicians met in a small café in Beirut’s Hamra neighborhood, spoke of music, argued about politics, and decided to collaborate at once. They began working on tracks the following day. A month later, they had already produced a dozen sketches, instrumental beds and accapella vocal tracks. These demos eventually landed in the hands of Ziad Nawfal and Fadi Tabbal, who set out to bring to life the duo’s first recorded album. “Kachf el Mahjoub” (the title is from a Sufi master-work penned some 900 years ago) was eventually released as a limited edition of 500 CD’s, during a launch event at then-budding alternative venue Metro al Madina in Hamra, on the 22nd of February 2012. These CDs went out of print in record time, as can be expected, and the album’s mythical status became reinforced over time – El Rass & Munma collaborated sporadically during the next ten years, but never fully grasped the level of musical intensity and explosive tension attained on this first outing. It has been a longstanding dream of ours, here at Ruptured, to produce a vinyl version of this album, and we are thrilled to say this moment has finally come. Artist ALI RAFEI’s original artworks have been painstakingly reproduced, the music has been dutifully remastered for vinyl by CEDRIK FERMONT, and the records were pressed by our friends at Mother Tongue in Verona. We added bonus track "Fi Kala'at Tarablus" to this 10th anniversary reissue for good measure – recorded during the same sessions that yielded “Kachf el Mahjoub”, it appears on the digital version of the album. “Kachf el Mahjoub” is a landmark album in Lebanon’s alternative music scene, and the MENA region’s hiphop and indie scenes writ large. At the time of their collaboration, El Sayed was a prolific writer and musician, at ease with a variety of instruments, notorious for his masterful flow in the classical Arabic language, with lyrics tackling both social and political sensitive subjects; Nawfal has previously released an impressive number of albums and EPs, exploring downtempo electronica and ambient dubstep, for a number of Lebanese and international labels. The collision of the former’s brazen, slammed vocals and the latter’s harsh beats works wonders on “Kachf el Mahjoub”, Munma’s sound-world perfectly fitting El Rass’s agitated discourse, alternating between broken beats, elaborate percussion, and ambient layers of synths. At times reminiscent of mutant hiphop outfit Shabazz Palaces, at others of the collaboration between dubstep producer Kode9 and the late vocalist The SpaceApe, this album is an uncanny meeting of Arabic hip-hop and electronica, an exceptional event in the realm of contemporary Lebanese alternative music.

Recorded using various traditional musical instruments, the album includes Japanese-style music, samba, mambo, and more, featuring songs like "Itsudemo Dareka ga".

Wewantsounds is delighted to announce the release of one of Japan's most coveted albums of the 70s, "Mangekyou" by singer-songwriter Yoshiko Sai. Produced in 1975 by Master musician Yuji Ohno, the album features Yoshiko Sai's superbly crafted songs and crystal clear voice over Ohno's lush, funky sound and breezy arrangements. A strong buzz has been growing around the album over the years and original copies now change hands for large sums of money. This is the first time "Mangekyou" is available outside of Japan, featuring remastered audio, original artwork and a 4 page insert including new liner notes by Paul Bowler.

It's been a while, but after some significant restructuring behind the scenes, Soul Flip is back in the groove, with a fresh new look, and more sweet, soulful sounds.

Chapter 16 of the Soul Flip story sees Del Gazeebo breathe fresh life into a couple of absolute classics, steering them directly at the dancefloor.

First up for the Soul Flip treatment is Sam & Dave's "Soul Man", Del somehow making an already big tune even bigger, and very much more DJ-friendly.

On the flip, Del takes the O'Jays original version of "Now That We Found Love" & injects it with fresh energy. It also retains the glorious strings from the album version that was edited out from the original 7" (UK only) release.

'Let Me Go' by South African House legend Jullian Gomes, Mule music producer and Sapporo based sound designer Kuniyuki Takahashi, and Sio fresh after recently signing an album deal with Stay True Sounds/Defected, is elevated with fresh interpretations from UK super-producer & house legend Atjazz and St Louis born Yoruba label boss Osunlade, alongside the amazing original cut. House music from all corners of globe…you need this.

Tristan Arp returns to Wisdom Teeth with his sophomore LP: ‘a pool, a portal’ - a vast, multi-dimensional record of pin-drop rhythms, hushed vocals and swirling ambience that maps out a vivid limbic space between the natural and the digital worlds. The LP began life while Tristan was still living in Mexico City, and was subsequently finished in New York. Carrying on from where his acclaimed debut ‘Sculpturegardening’ left off, the record marries hallucinatory modular synths with cello, found sound and spoken word, creating a rich sonic world in which machines mimic nature and acoustic instruments merge with their digital counterparts. Across the record’s narrative arc, listeners are invited to imagine a future world in which nature and machines collaborate to rewild and search for new modes of being. Far from apocalyptic, the artist’s vision is yearning and hopeful - a reflection on how we might evolve to overcome our very human limitations. “Hopefully we can all open a little portal into another world and integrate what we learn into our own”, Tristan offers. True to his word, Tristan shared much of the creative process with his machines, using modular generative processes to create randomised, improvisatory moments that he could collaborate on as artist and observer. Most of the tracks were captured in single takes as live performances and improvisations that were subsequently edited and cut down. Speaking of ‘Life After Humans’ - the record’s beguiling 10-minute centrepiece - Tristan recalls: “I neglected to record multi-track outs, but it was actually super empowering to be left with just a stereo track: I couldn’t mix individual elements even if I wanted to after the recording, but I’m happy I inadvertently limited myself in that way.” Alongside his own voice, the record features a stunning appearance from fast-rising Guatemalan cellist and vocalist, Mabe Fratti. The pair met in Mexico City in 2020, where she helped Tristan to learn cello - an encounter that ultimately went on to inform the recordings that made up ‘Sculpturegardening’. Her appearance on ‘a pool, a portal’ marks a full-circle moment in their creative relationship. The album’s artwork features photography by Zhang An - a photographer based in Nanjing, China. Despite their appearances, these are unmanipulated photos of real-world ice formations. As is the case throughout ‘a pool, a portal’, the lines between the natural and the artificial are playfully indistinct.

Having spent their formative years in São Paulo Brazil, as a teenager, Lau Ro found themself uprooted from their home. Moving with their family to Europe in search of a better quality of life, their story was like that of many immigrants in the same position. Lau Ro's parents found work in factories and cleaning jobs, for the first few years in the North of Italy and then in Brighton on England's Southern coast. "We never managed to visit back home, so my connection to Brazil became largely made up of childhood memories and my fascination with all the 60s and 70s music I could find from there."

In Brighton, the young non-binary singer and composer would immerse themself amongst the city's vanguard of free-thinking artists and musicians. Lau Ro formed Wax Machine whose prefigurative, psychedelic community provided a glimmer of countercultural hope amid a backdrop of national political decline. From 2020-23, Wax Machine birthed three cult-favourite albums in as many years; indebted in part to their British psychedelic forebears from progressive folk, rock and jazz yore. But the kernel of Lau's Brazilian sound was already beginning to blossom across Wax Machine's releases. Now, taking root deeper still, Lau Ro steps forward with their debut album: Cabana.

Named after the small wood cabin at the bottom of their garden where the album was recorded, Cabana is a deeply personal record of memory, self-discovery and imagination. Melancholy and hope combine across ten tracks of dreamy bossa, ambient folk, fuzzy tropicalia and majestic MPB. The music is swathed in masterful string arrangements and trippy electronics in equal part, while Lau Ro's delicate, yet quietly confident voice takes acerbic aim (in both English and Portuguese) at polluted city life, while dreaming of a utopia, rich with nature and wildlife.

Like the musical equivalent of semantic drift, Lau Ro's displacement led to the creation of another Brazil. A mythic place in Lau's soul, as they put it, "where the sunshine and joy of my childhood remained untapped." Lau continues: "It's music that might sound as if it came out of a parallel universe Brazil, rather than its modern day landscape. I am nowadays rediscovering Brazil, going back as often as I can and trying to stay connected to these different parts of the world and myself."

Limited Edition Picture Disc. Including Silver/Chrome Obi Sticker and Silver Postcard with album titles and info in English and Bengali. Housed in PVC sleeve.

ICCHĀ is an international collaboration project that originated in 2023 in Dhaka, Bangladesh. The work "Chant For Hope" was realized by Miet Warlop and created on site with local performers while Micha Volders composed the musical context. The performance acts as a monumental living sculpture, in which the physical process of casting hundreds of Bengali words in plaster becomes the driving force to create a playing field between performers, public space, and participation. Woven through this performative context are more complex relationships that explore the tension between humans and language. As the words become so visible and tangible, an image of their inner bearing and our dealings with them emerges.

The recordings of this performance have been adapted and enhanced to create an album that reflects the energy and expands upon the sound created in Dhaka. ICCHĀ is the Bengali wording of "desire," and reflects the eagerness and urgency felt within the process of this collaboration. In conjunction with the seven performers, a sonic adventure emerges that thrives on the energetic rendering of the Bangla language through transient patterns and snappy melodic figures. The album will be released on 24.05.24 as vinyl picture disc and digital, and will be available as a pre-order online and in local selected record shops.

JS is an alias of James Zeiter and is also the name of his own label. This seventh transmission once again showcases his signature take on minimal, dub and techno. 'JS-07' rolls out with deep, pillow drums and well buried sub bass that slowly sweeps you up and locks you into a state of hypnosis. 'JS-07R' on the flip side is run through with slightly more warmth and light, like beams of sun piercing the surface of an ocean and catching microscopic organisms floating on the sea bed. It's a heady sound full of soul.

UK artist Risk Assessment is back once again with some potent sonic weaponry that is designed to make a big impact in the club. All four of the disco cuts are peak time sounds starting with 'Something New' which is awash with some crystalline synths and gloriously lush pads. 'Party People' is nice raw and live-sounding disco with lo-fi drums, slapping hits and a James Brown-style funk vocal. 'Like This Like That!' brings some funky little guitar motifs and a jumble of percussion while last of all, 'Girl At The Disco' shuts down with a more sensuous sound and slinky grooves that worm their way into your affections.

The small but already well-formed Stereo:type label has got a trip of new EPs all dropping this summer. UK producer Risk Assessment is behind them all and each one explores a classic disco sound with some modern dance floor weight. 'She's On The Floor' is a celebrity and feel-good jam with heart-swelling strings. 'Rhyme' cuts up a classic vocal sample and layers it over some house-leaning beats while 'Delicious' is a wig-out lead by its shimmering synth stabs. Last but not least is the breezy and sunny 'Let's Do It'.

Following the cult success of the first 2 EPs, Common Saints presents
the debut album "Cinema 3000". The theme continues, blending soul,
funk, and psychedelic influences, with the organic sound and rich
instrumentation that Common Saints has become known for.

Conceived in 2020 by writer/producer Charlie J Perry the production approach

for Commons Saints consists of him playing and recording real instruments in his

London home studio. One mike for the drums, his beloved piano and amps up

loud!



The album encapsulates the old school recording approach and musicianship the

discerning ear craves but with a more modern punch - a true sonic bath for all the

connoisseurs out there. Think, UK's equivalent to Tame Impala and Khruangbin.



The first EP "Idol Eyes" (2020) has seen 3 re-presses to date and is now selling at

multiples on Discogs. "Cinema 3000" is set to surpass expectations and is highly

anticipated within the Commons Saints community. The first LP pressing is on a

' blue meteorite splatter’ effect colour vinyl and will be limited to 2000 units

globally. Also available on CD, presented in a 6-panel digipak.

Blue vinyl repress

With a voice of pure gold and a startling sensitivity for heartfelt pop songwriting, on No Reino Dos Afetos (In the Realm of Affections), Berle firmly embraces earnestness, through starry-eyed Brazilian love songs, ambient vignettes, warm, home-cooked beats and gentle strokes of MPB genius.

Maceió, the capital of Brazil’s Alagoas state on its sprawling east-coast, is home to pastel coloured colonial houses, white sand beaches and a brilliant young composer, poet and multi-instrumentalist named Bruno Berle.

With a voice of pure gold and a startling sensitivity for heartfelt pop songwriting, on No Reino Dos Afetos (In the Realm of Affections), Berle firmly embraces earnestness, through starry-eyed Brazilian love songs, ambient vignettes, warm, home-cooked beats and gentle strokes of MPB genius.

“It’s an album that was built from my desire to find beauty”, Berle explains - his simple, graceful words mirroring the graceful simplicity in his music. But amongst the simplicity, the compositions, arrangements and productions on No Reino Dos Afetos tingle with nuance and detail.

On the contemporary R&B inspired lead single “Quero Dizer” - produced by Berle and longtime friend and collaborator Batata Boy - the swirling, lo-fi, kalimba and guitar-fronted beat is turned into a feel-good hit by the ingenuity of Berle’s honey-soaked vocal melody.

Powerfully intimate, “O Nome Do Meu Amor” (My Love’s Name) is a guaranteed tearjerker, with Berle’s stunning voice soaring over gently plucked acoustic guitar and the textural flutter of soft movement, as if we hear him writing the song in the moment.

Drawing upon a close-knit, collaborative scene of Maceió artists and musicians, (of which Berle and Batata Boy are vital members), Berle also recorded some of his friends songs on the album, including João Menezes’ “Até Meu Violao”, the album’s beautifully laid back sunshine soul opener, which has all the charm of early-70s João Donato.

Having cut his teeth in soft-rock group Troco em Bala, and more recently finding himself embedded in both Rio and Sao Paulo’s contemporary music scenes - collaborating with the likes of Ana Frango Eletrico, who took the photo for the album cover - No Reino Dos Afetos is as musically diverse as Bruno himself. It’s hazy indie rock (“É Preciso Ter Amor”), calming ambient and field recording (“Virginia Talk”) as well as Berle’s own take on West African High Life (“Som Nyame”).

Instantly recognisable as a truly special artist, Berle’s character fills every corner of the sound, which is unsurprising considering he played most of the instruments.

Das Geheimnis ist schon seit einer Weile gelüftet: Nach fast neun Jahren Pause sind die schwedischen Prog-Rock-Legenden Beardfish zurück. "Songs For Beating Hearts" ist die erste brandneue Musik von Beardfish seit neun Jahren, aber während sich die vielen magischen Momente entfalten, erscheint es, als wäre die Band nie weg gewesen. "Songs For Beating Hearts" ist ein leuchtendes Zeugnis für die Magie, die entsteht, wenn sich diese vier Musiker zusammentun - mit starken Anklängen an vergangenen Ruhm, aber auch mit einer ganz neuen, wehmütigen Stimmung. Von der verträumten Melancholie des Eröffnungsstücks "Ecotone" und der vertrackten Opulenz des fünfstimmigen "Out In The Open" über den prog-freundlichen Pastoralismus des bittersüßen 11-Minuten-Epos "Beating Hearts" bis hin zum ernüchternden Prog-Noir des abschließenden "Torrential Downpour" haben Beardfish nicht nur ihr bisher stärkstes Werk geschaffen, sondern auch ihr emotionalstes. "Songs For Beating Hearts" wird von Gedanken über Liebe, Verlust, Freundschaft und Endgültigkeit zusammengehalten und ist der Sound von vier Gleichgesinnten, die ihr Herz ausschütten. Ein triumphales Comeback, das niemand hat kommen sehen. "Songs For Beating Hearts" wird als limitiertes CD-Digipak (inkl. Bonustrack), Gatefold 140g LP und als digitales Album erhältlich sein.

Kenny Hooper is a Detroit mainstay and formerly a part of Scan7 who now makes his solo debut on Acquit Records. It continues a purple patch of late that includes his remix work on Nate Nubia's 'Dracula and Frankenstein' and his trilogy on Elypsia Records. The title cut 'Neon Skies' opens with lush synths arp shimmering over crispy, punchy electro drum programming. 'Imagination' has a dubbed-out low end and kinetic kicks with smeared synth lines and intimate vocals bringing some seduction to the sounds. 'Binary Dreams' gets more raw and ragged with a reverberating bassline full of texture and more eerie synth designs up top that keep you on edge. 'How Far' brings a cultured EP to a close with more classy rhythms.

diskJokke - Loving HowardCurses - Hell yeah. I vibe with this!
Jorkes - U la la. Thanks so much. superduper <3
Heidi Lawden - Nice release for all moods
Gameboyz - Slow and power. Thanks
Pete Herbert - Yes solid all round!
Chloe - Nice EP
Severino Panzetta (Horse Meat Disco) - Yeeeeees
Xinobi - Lisbon and Porto legends. Super cool tunes
DC Salas - Howard is big!
Mufti - Fantastic EP all around! Howard my favorite
Thomass Jackson - New Ears for me Thanks!

Long time friends and Lisbon-based Mirror People & OITO//OITO for the last 20 years have been lighting up dancefloors all over their native Portugal and beyond, with their passion for eclectic sounds as the main fuel for their sonic mission. ‘MP88’ marks their first EP together. ‘Howard’ opens with rugged 4/4 rhythms, acid squelches and meandering arps to set the tone, ‘New Ears’, takes things on saturated drums & fills, vintage stab sequences and enigmatic strings. Last but not least, is the dropped tempo acidic feel ‘Alive & Kicking’. Another flawless EP in OITO//OITO Discos, limited to 300 copies, this time in Yellow vinyl.

space•lab presents the Negen EP from Human Space Machine, a journey into Mike Jungerius’ unique take on the deeper shades of techno. Featuring four meticulously crafted tracks, this release showcases his signature sound—as rolling basslines and hypnotic acid lines weave seamlessly through intricate percussion, beautifully balanced with the perfect dose of melody and harmonics.

Each track offers a unique glimpse into Human Space Machine’s refined approach to techno: atmospheric yet grounded, minimal but rich in texture. With tracks ranging from 100BPM to 144BPM, this is the record you can reach for at any time of the night.

This rare Brit Funk 12” was originally released in 1984 and is now officially reissued for the first time. Licensed from producer Lindel Lewis, the 12” was heavily influenced by US Boogie and Disco and there’s a Dub influence at play as Lindel was also producing a lot of reggae around this time, most famously ‘Night Over Egypt’ by Mystic Harmony.

The 12” includes a previously unreleased Dub Version of ‘I Need You’ and was produced on two Analogue classics, Lindel says “I used a Linn Drum for the drums and played all synth parts using a Roland 106. I’m a classically trained musician and also a sound engineer, I worked at Mark Angelo Recording Studios for 18 years and have produced a great many artists. Steve Jones real name is Steve Myers, but I didn’t like the surname so changed it to Jones which felt more soulful. The name The Fat Boys came about because of the big bellies of myself the flute player Mike Appoh, my trainee engineer at the time. Ray Carlass played the sax solo, they have both now sadly passed”.

This long overdue reissue revives a standout moment in Brit Funk history, making it an essential addition for fans of classic Boogie and Disco. A 140 gram pressing in 3mm spine disco sleeve with labels and sticker designed by Bradley Pinkerton.

The 2015 edition of Winnipeg’s send + receive festival, focussed on rhythm, turned out to be a generative meeting of minds. There, Mark Fell encountered the music of Will Guthrie, a meeting that was eventually to result in the frenetic acoustic drumkit and digital synthesis pairing heard on Infoldings and Diffractions (2020). At the same festival, Limpe Fuchs first heard and appreciated the music of Mark Fell, planting the seed of a collaboration that came to fruition when Fell (along with his son Rian Treanor) visited Fuchs at her home in Peterskirchen, Germany in September 2022. Black Truffle is pleased to announce the release of the results of this extensive session in the audacious form of a triple LP, housing over two hours of music across its six sides. The collaboration might appear unlikely: what common ground could exist between Fuchs, classically trained pianist, legend of improvised music, instrument builder and sound sculptor active since the 1960s, whose group Anima Sound connected the dots between free jazz, krautrock and ritual, and Fell, proponent of radical computer music, known for his bracingly austere productions that twist remnants of club music into algorithmic stutters? For all their seeming disparity in technology, approach and background, the music on Dessogia/Queetch/Fauch makes it immediately evident the pair share a great deal in their essentially percussive approach and ability to, in Fuch’s phrase, ‘establish silence’. Recording at her home studio, Fuchs had the use of her entire array of instruments, found, invented, and traditional, and treats the listener to some that don’t often make their way to concerts, including extensive passages performed (with Gundis Stalleicher) on pieces of wooden parquetry. Alongside metallic, wooden and skin percussion of all kinds, sounded and struck in every conceivable way, we also hear bamboo flute, viola, and Fuchs’ distinctive free-form vocalisations. Fell also stretched himself, with his contributions ranging from characteristically fizzing pitched percussive pops to swarms of sliding tones and abstract digital noise. Showing both remarkable restraint and improvisational freedom, much of the music consists of duets between a single percussion instrument and a distinctive mode of digital sound, often lingering in one timbral-rhythmic space for minutes at a time. Improvisational forward momentum coexists with a free-floating, wandering quality. On opener ‘Dessogia I’, the shimmering almost-gilssandi tones of Fuchs’ enormous set of microtonally tuned metal tubes ripples across Fell’s rubbery pulse, which moves up the frequency spectrum as Fuchs becomes more animated and switches to horn. At some points, as on the metallic chiming tones that open ‘Fauch I’, only the unexpected dynamic behaviour of Fell’s sounds distinguish them from Fuchs’ acoustic instruments. At others, like on ‘Queetch III’, the waves of sliding tones and noise textures are bracingly synthetic, joined by piercing squeaks and scrapes from Fuchs’ metal objects. Epic in scope, immersing the listener in an entirely distinctive world of sounds, and thrillingly bold in its melding of the most ancient musical procedures with cutting edge technologies, Dessogia/Queetch/Fauch is an unexpected major statement from two of the great mavericks of contemporary music.

2024 Reissue

The syndicate manifests its sonic potential in full glory. Giving rise to this collection of colossal heavyweights, Sentry demonstrates its spotless record of selecting certified heavyweights for the discography once again, twenty-fold. Stepping into the ring are some of the scene's most prolific artists alongside a plethora of promising, choice newcomers.

Boasting more than an hour of supercharged sound system pressure with names like Caspa, Truth, Bukez Finezt, Nomine and Youngsta himself on the controls - the subsequent inferno proves to be an authoritative display of quality bass music, that is sure to reach roaring stacks of speakers all around the globe for years to come."

"Vintage flavours transmute into fiery low-end excursions in 'Sun Ra' as Onhell reigns with fire and brimstone and makes way for what's to come. Rolling on, Taso lays waste with dimly lit half-time flows as we enter the smoke-filled mansion of Argo's meticulously crafted 'Since Then' - a prime cut of hip-hop infused breakbeats and bass.

Abstrakt Sonance & Substance set the heater into overdrive and blunts aflame as we proceed into the shelling of 207's 'Gypsy Dub' - then promptly being crunched to bits by 'Crocodile' - encapsulating Dayzero's cold-blooded dance floor armaments. Brace yourself for battle as we step to the drums of Caspa's tribal warfare, full-frontal assault engineered for the club.

Unrestrained power surges propelling us onwards in Coltcut & Ourman's decidedly high-grade collaboration as listeners march through Khiva's haunting sound system belter 'Teeth' and a zealous dosage of Dubstep as envisioned by Truth. Led through eerie alleys and pressure-ridden environments with LSN on the buttons, the onslaught proceeds with the relentlessly driving 'R U Broke' in Mr. K's signature style.

Opus merciless injects straight fury in an auditory form in the spiked 'Lime Pickle' - Bukez Finezt keeping pace with a murderous Cembalo-ridden thug anthem, lunacy! Minimal instrumentation to its fullest effect, Sukh Knight's 'Modulate' keeps it spicy - as does the claustrophobic sub-bass chiming by Leftlow. Thanom ignites what's left of the residual air in 'Tumble It' - dangerous goods.

The subsequent time bomb armed by A:Grade & Feonix, cast into the abyss that is Nomine's space-bending 'Judas' - big speaker business. The clock strikes its final hour - Youngsta & Cimm finish off the survivors with a no-holds-barred showdown, the 'Last Judgement' executing its massive verdict.

2024 Reissue

The music of LSN always has a certain level of grit texture and foreboding. In the background chains drag the drums always contain a certain amount of breaking snap. The sum total though is not a haunting but more of a three dimensional submersion into a rhythmic organisation of these sounds. The work in a way announcing how it’s been made by giving you beds of variant sounds mixed so well that can create your own narrative story to the soundtrack that you’re hearing. That narrative potential is something that marks this album as notable in the electronic music sphere.

Nachdem er 2022 "The Consistent Brutal Bullshit Gong" schrieb, hat sich Nate Mendelsohn immer mehr in seiner Musikgemeinde in Brooklyn, NY, verwurzelt. Er produzierte die letzten FRANKIE COSMOS- und DOUGIE POOLE-Alben, trat bei VAGABON und SAM EVIAN auf und machte Aufnahmen mit YAEJI und LADY LAMB. Diese Erfahrungen mit abenteuerlichen Künstler*innen sind in Mendelsohns Songwriting eingeflossen und haben, zusätzlich zu seinen frühen Jahren in der Jazz- und Avantgarde-Welt, ein Album hervorgebracht, das so manchem wahrscheinlich den Kopf verdrehen wird, wenn man Alben namens "Pet Sounds", "Fantasma", "Insignificance", "Blonde" oder "XO" mag. Wie auf einigen der genannten Alben verschmilzt auch auf "Well I Asked You A Question" das Physische mit dem Synthetischen: gesampelte Orchester duellieren sich mit echten Orchestern ("Fantasy"), die gesprochenen Worte eines Roboters duettieren sich mit einem menschlichen Chor ("Around"), und Geräuschexplosionen üben sich in Soli über traditionelle Rockinstrumente ("Rachel's Getting Married"). Obwohl viele der Sounds auf dem Album erweitert und gebrochen sind, arbeitete Mendelsohn mit der vollen MARKET-Band - Stephen Becker, Natasha Bergman und Duncan Standish - zusammen, um die Songs zu entwickeln. Er wollte "musikalische Unfälle mit ausgefransten Rändern - immer noch eine Gruppe von Leuten, die in einem Raum sind und Songs spielen". Neben der Kernband leisteten Katie von Schleicher, Mike Haldeman (MOSES SUMNEY, ALTO PALO), Justin Felton (L'RAIN, BIG THIEF), Rose Droll (FEIST, ART FEYNMAN) und Helen Newby mit der Technik von Adam Hirsch (Sam Amidon, Stephen Steinbrink) weltumspannende Beiträge.

P3RF3CT STRANG3RS is a collaboration between Mexican DJ/producer PAURRO and NY vocalist STEVEN KLAVIER. Featuring remixes from TAMA SUMO & LAKUTI, and MIDLAND, "RUN AWAY!" is inspired by 90s house classics & club divas, driven by a passion for melodic rhythms, organic beats, and silky smooth flow. From Brooklyn’s TOUCAN SOUNDS.

The soundtrack to the acclaimed 2024 indie comedy "Home Free" is produced by Adrian Quesada (Black Pumas, Grupo Fantasma) and features songs by Quesada, J. Mascis, Mix Master Mike, Fatlip (Pharcyde), Lucious Jackson, James Petralli (White Denim), Neal Francis, Ben Kweller, and many more. It's an eclectic blend of hip hop, funk, and more stripped down, singer-songwriter tracks, that help bring to live this coming-of-age story set in the 1990s.

2024 Reissue

Cimm is back on Youngsta's imprint Sentry Records with a heavyweight two track EP. Going from strength to strength in the 140 scene with a couple sound system shakers.

Dive into the soul-stirring depths of Snowgoose's latest album, "Descendant."
"Descendant" is crafted with their exquisite blend of folk and psych. Featuring the guitar of Raymond McGinley (Teenage Fanclub) the keys of Chris Geddes (Belle and Sebastian), the bass of Stevie Jones (Arab Strap), the pedal steel of Tim Davidson (Tracyanne & Danny), and the drums of Stuart Kidd (BMX Bandits) and Adam Stearns (Trembling Bells), this album is a testament to the collaborative spirit of Scottish indie royalty.
Following their acclaimed psych folk albums "Harmony Springs" and "The Making of You," Snowgoose continues to enchant with narratives of love, loss and the ephemeral beauty of life.
Praised for their "spellbinding" sound (Uncut Magazine) and vocals that evoke "the spirit of Sandy Denny" (The Scotsman),

5 Jahre seit Veröffentlichung ihres 7. Albums "Where The Light Ends" sind nun vergangen und das Warten hat endlich ein Ende. KEITZER sind zurück mit neuem Album, unter dem schmissigen Namen "Pandemonium Humanitas". Die Band nutzte die Zeit und komponierte 9 neue Songs, die den bisherigen Höhepunkt ihres musikalischen Schaffens darstellen. Keitzer präsentieren, einzigartige, ultrafette, rasende Gitarrenriffs, pure wütende Energie - simply eigenständiger und eingängiger Death Metal versetzt mit Elementen aus dem Black Metal.
"Pandemonium Humanitas" ein musikalischer Wutausbruch par excellence und wurde, wie auch schon das Vorgängeralbum, im Soundlodge Studio unter der Leitung von Jörg Uken, aufgenommen, gemixt und gemastert. Das Albumartwork stammt vom italienischen Maler Paolo Girardi.

US Heavy Music Act CANE HILL melden sich endlich mit ihrer neuen, lang ersehnten LP “a piece of n ihrer nunmehr 13-jährigen Karriere haben Cane Hill immer wieder gezeigt, wie musikalisch divers sie sein können. Von Metalcore, über Nu-Metal, Industrial Metal und Alt-Rock ist alles dabei und nun beschenkt das Alt-Metal Quartett um Frontmann Elijah Witt uns mit ihrem neuen Longplayer aus 11 neuen Tracks, darunter die neuesten Singles “The Midnight Sun” und “Fade”.

“Ich habe diesen Song geschrieben, als ich wahnsinnig verliebt in jemanden war. Mittlerweile sind wir uns Fremde, aber ich glaube, hätten wir uns nie getroffen, wäre dieser Song nicht das geworden, was er nun ist. Musik kann so schön ironisch sein”. — Elijah Barnett über “Fade”

“Reflex” is Gábor Lázár’s debut album on raster. His new record is a collection of seven tracks, featuring an extended sound palette of percussions and synthesizers drawing our attention towards the essential soundscapes of techno while maintaining his distinct, uncompromising and meticulously detailed style. While the tracks do not follow traditional narratives, the album has an evolution: it gently builds up from challenging, unpredictable, and organically composed structures to linear yet playful forms of techno-infused tracks, taking us on a journey from home listening environments to club contexts.

Our senses are stimulated by micro-variations of textures and patterns, leading us to the feeling of here and now, allowing us to observe our own reactions and thoughts evoked by the listening experience. Gábor’s consistent production techniques and intuitive compositional approach work together coherently, addressing the listener’s cognition from different angles simultaneously, offering a variety of ways for the listener to get immersed.

“Reflex” will be released on raster in September 2024 on vinyl and CD.

While far from a household name in reggae, Judah Eskender Tafari cultivated a loyal fanbase and respectable catalogue during his recording career. The Studio One single, "Rastafari Tell You" sits at the top of a small set of deep cuts he recorded for Coxson Dodd's famed studio starting in 1978. These have continued to find a place at roots reggae sound systems and DJ rub-a-dub parties after nearly five decades. The earnest lyrics and spiritual mission of these early recordings would define Judah's entire career, extending through the decades to "Great Escape", a new Daptone 45 produced by label stalwart Victor Axelrod. The song alludes to the Old Testament in a vision of mankind gone astray, trying to escape the confines of Earth for salvation. Axelrod provides a lush roots backdrop against which Eskender shines in a way we haven't heard in years.

Fresh rhythms. Gorgeous melodies. A powerful yet full touch that pleasantly stirs the emotions of the listener. The origins of the great pianist Masaru Imada are here.

Masaru Imada has been active as a professional since the 1950s and now has a career spanning 70 years. He has been at the forefront of music from hard bop to fusion, and has released over 30 titles as a leader. He is one of Japan's leading pianists in both name and reality. His powerful yet full touch creates a sound that pleasantly stirs the emotions of the listener. His first album, "Maki," can be said to be the origin of this. The performances by the trio or one horn quartet are so fresh and beautiful. The carefully woven "Autumn Leaves," the dynamic "On Green Dolphin Street," the ambitious "Gad," the ballad "Maki" dedicated to his beloved daughter, and the hot and cool "Sea Horse."

From standards to originals, his talent is fully displayed throughout the album. Released as part of the Victor "Japanese Jazz" series, this is an undoubted masterpiece. - Yusuke Ogawa (UNIVERSOUNDS / DEEP JAZZ REALITY)

Only Love Remains is Yemen Blues’ boldest offering yet. The eleven-track album embraces the strengths of all four accomplished musicians and the richness of their individual cultures – the traditional to the modern and the sounds of the East to the West.

Co-produced by the band and New York-based Yemen Blues’ bassist Shanir Ezra Blumenkranz, known for his avant-garde work with John Zorn and Yo-Yo Ma, Only Love Remains is simultaneously a very direct and visceral emotional connection and an enigmatic spiritual quest, both enlightening and questioning.

At a time of dangerous political, religious, and cultural polarization and xenophobia, Yemen Blues and Only Love Remains lead by example, creating a color-blind, all-embracing celebration of gyrating togetherness with love firmly at its pulsing core.

Founded in the late 1960s by record store owner Seidou
Adissa, Albarika Store is one of the most important
independent record labels on the African continent. That
it was founded in the relatively small ex-French colony
of Benin (then still called Dahomey), is a testament to its
founder’s musical taste and vision for what the local
musical scene had to offer.
This September, Acid Jazz releases the first ever vinyl
and CD overview of the label and its music, compiled by
David Hill of The Soul Revivers and West African
musical expert Florent Mazzoleni, who also wrote the indepth notes.
The compilation provides a look into what was a
developing and then thriving post-colonial music scene.
It focuses on the label’s biggest and most prolific act
Orchestre Poly-Rhythmo and its founder Melome
Clement – who released under a variety of names often
spotlighting on the musicians’ key to their sound. It also
looks at the other established artists on the label such
as the incendiary Les Sympathics De Porto Novo and
Les Volcans. All of these artists create a unique mix of
Westernised Funk, Soul and Latin sounds crosspollinated with the traditional music of the region.

Camelot, the legendary seat of King Arthur's court in Early Middle Ages Britain, was probably not a real place. A corruption of the name of a real Romano-Briton city, the word "Camelot" accumulated symbolic, mythic resonances over centuries, until achieving its present usage as a near-synonym of "utopia." In the mid-20th century alone, Camelot inspired an explosion of representations and appropriations, among them the violent, affectless Arthurian court of Robert Bresson's 1974 film Lancelot du Lac and the absurdist iteration of Monty Python's 1975 Holy Grail, both of which feature armored knights erupting into fountains of blood; the mystical Welsh world of novelist John Cowper Powys's profoundly weird 1951 novel Porius, with its Roman cults, wizards and witches, and wanton giants; and the nationalist nostalgia of President John F. Kennedy's White House. Unsurprisingly there are fewer Camelots in more recent memory. Camelot, Canadian songwriter Jennifer Castle's extraordinary, moving 2024 chronicle of the artist in early middle age, charts a realer, more rooted, and more metaphorical place than the fabled Camelot of the Early Middle Ages (or its myriad depictions), but it too is a space more psychic than physical. In Castle's Camelot, the fantastic interpenetrates the mundane, and the Grail, if there is one, distills everyday experience into art and art into faith, subliming terrestrial concerns into sublime celestial prayers to Mother Nature, and to the unfolding process of perfecting imperfection in one's own nature. Co-produced by Jennifer and longtime collaborator Jeff McMurrich, her seventh record is at once her most monumental and unguarded to date, demonstrating a mastery of rendering her verse and melodies alike with crisply poignant economy. For all their pointedly plainspoken lyrical detail and exhilarating full-band musical flourishes, these songs sound inevitable, eternal as morning devotions. "Back in Camelot," she sings on the lilting, vulnerable title track, "I really learned a lot / circles in the crops and / sky-high geometry." The album opens with a candid admission of sleeping "in the unfinished basement," an embarrassing joke that comes true. But the dreamer is redeemed by dreaming, setting sail in her airborne bed above "sirens and desert deities." If she questions her own agency_whether she is "wishing stones were standing" or just "pissing in the wind"_it does not diminish the ineffable existential jolt of such signs and wonders. This abiding tension between belief and doubt, magic and pragmatism, self and other, sacred and profane, and even, arguably, paganism and monotheism, suffuses these ten songs, which limn an interior landscape shot through with sunstriped shadows of "multi-felt dimensions" both mystical and quotidian. The epic scale and transport of "Camelot," with its swooning strings, gives way dramatically to "Some Friends," an acoustic-guitar-and-vocals meditation in miniature on Janus-faced friends and the lunar and solar temperatures of their promises_"bright and beaming verses" versus hot curses_which recalls her minimalist last album, 2020's achingly intimate Monarch Season. (In a symmetrical sequencing gesture, the penultimate track, the incantatory "Earthsong," bookends the central six with a similarly spare solo performance and coiled chord progression, this time an ambiguous appeal to _ a wounded lover? a wounded saint? our wounded planet?) Those whom "Trust" accuses of treacherous oaths spit through "gilded and golden tooth"_cynics, critics, hypocrites, gurus, scientists, doctors, lovers, government, the so-called entertainment industry_sow uncertainty that can infect the artist, as in "Louis": "What's that dance / and can it be done? What's that song / and can it be sung?" Answering affirmatively are "Lucky #8," an irrepressible ode to dancing as a bulwark against the "tidal pools of pain" and the "theory of collapse," and "Full Moon in Leo," which finds the narrator dancing around the house with a broom, wearing nothing but her underwear and "big hair." But the central question remains: who can we trust, and at what cost faith, in art or angels or otherwise? Castle's confidence in her collaborators is the cornerstone of Camelot. Carl Didur (piano and keys), Evan Cartwright (drums and percussion), and steadfast sideman Mike Smith (bass) comprise a rhythm section of exquisite delicacy and depth. This fundamental trio anchors the airiness of regular backing vocalists Victoria Cheong and Isla Craig and frames the guitars of Castle, McMurrich, and Paul Mortimer (and on "Lucky #8," special guest Cass McCombs). Reprising his decennial role on Castle's beloved 2014 Pink City, Owen Pallett arranged the strings for Estonia's FAMES Skopje Studio Orchestra. On the ravishing country-soul ballad "Blowing Kisses"_Pallett's crowning achievement here, which can be heard in its entirety in the penultimate episode of the third season of FX's The Bear_Jennifer contemplates time and presence, love and prayer_and how songwriting and poetry both manifest and limit all four dimensions: "No words to fumble with / I'm not a beggar to language any longer." Such rare moments of speechlessness_"I'm so fucking honoured," she bluntly proclaims_suggest a state "only a god could come up with." (If Camelot affirms Castle as one of the great song-poets of her generation, she is not immune to the despairing linguistic beggary that plagues all writers.) Camelot evinces a thoroughgoing faith not only in the natural world_including human bodies, which can, miraculously, dance and swim and bleed and embrace and birth_but also in our interpretations of and interventions in it: the "charts and diagrams" of "Lucky #8," a daydreamt billboard on Fairfax Ave. in LA in "Full Moon in Leo," the bloody invocations of the organ-stained "Mary Miracle," and all manner of water worship, rivers in particular. (Notably, Jennifer has worked as a farmer and a doula.) The album ends with "Fractal Canyon"'s repeated, exalted insistence that she's "not alone here." But where is here? The word "utopia" itself constitutes a pun, indicating in its ambiguous first syllable both the Greek "eutopia," or "good-place"_the facet most remembered today_and "outopia," or "no-place," a negative, impossible geography of the mind. Utopia, like its metonym Camelot, is imaginary. Or as fellow Canadian songwriter Neil Young once sang, "Everyone knows this is nowhere." "Can you see how I'd be tempted," Castle asks out of nowhere, held in the mystery, "to pretend I'm not alone and let the memory bend?"

King Pari ist ein Duo aus Los Angeles und Minneapolis, das sich vom Sound von Prince und psychedelischem Dub inspirieren lässt, um so etwas wie 'Schlafzimmer-Funk' zu kreieren - ansteckende Lo-Fi-Songs voller Emotionen und funky Grooves.

Die Mitglieder von King Pari, Joe und Cameron, spielten in verschiedenen Bands in Minneapolis, unter anderem mit einigen von Princes engsten Vertrauten.

Der erste Auftritt von King Pari war als Vorgruppe von Kamasi Washington, und Joes vorherige Band wurde von Prince persönlich eingeladen, im Paisley Park zu spielen.

Standardmäßig in mandarinfarbenem Vinyl mit Artwork von Lou Beach (Yellow Magic Orchestra, Bill Withers, Weather Report).

- Ltd. Col. LP: (Tangerine Orange Vinyl)

Die finnische Modern Metal-Band ARCTIS veröffentlicht ihr selbstbetiteltes Debütalbum Arctis über Napalm Records.
ARCTIS ziehen Inspiration aus der mythischen Natur des Nordens und ihren extremen Jahreszeiten, die sie in futuristisches Szenario übertragen. Einen
ebenso großen Spagat machen sie auf der Soundebene, wenn sie Modern Metal gekonnt mit Pop kombinieren und so ein episches und originelles
Klanguniversum erzeugen. Produziert wurde das Debüt von dem mehrfach mit Platin ausgezeichneten Jimmy Westerlund (Sturm und Drang), gemixt
von Stefan Glaumann (Rammstein) und gemastert von dem zweimal Grammy-nominierten Svante Forsbäck (Rammstein).
Mit dieser geballten Expertise als Rückenwind verspricht Arctis die Szene mit frischem Wind aufzuwirbeln, was sie unmittelbar im Anschluss an die
Veröffentlichung auf den Bühnen Europas beweisen werden. Denn ARCTIS haben die Ehre die legendären Metal Cellisten von Apocalyptica auf ihrer
Tour zu begleiten, was ihren Status als Senkrechtstarter unterstreicht.

Transparent Blue Vinyl. After years of preparation, Marcus Drake emerges from the basement networks of the resistance underground to claim the first save point along his quest ahead. Welcome to Save Point 1, a universe where popular forms of the past collide at warp speed with Marcus's mutant inspirations to produce sounds and genres hitherto unknown. Save Point 1 is a visionary and singular Debut work of Avant Rock & Pop Alchemy, blown apart and reassembled under the laws of Quantum Musical Mechanics. Written, Produced & Performed by Marcus Drake, the album eludes classification, but sounds like a sci-fi fusion of musical DNA from Nine Inch Nails, Prefab Sprout, Nobuo Uematsu (the Final Fantasy video game composer), Animal Collective, Prince, Mr. Bungle, Liars, The Mars Volta, and Lil Ugly Mane. The album marks the first release under Drake's own name, and the latest since his 2017 release as Anthony Fremont's Garden Solutions_his idiosyncratic side-project with Water From Your Eyes' Nate Amos, Options' Seth Engel, and NNAMDI. He has also since scored for film and video, including the Adult Swim short Thoron the Conqueror. Save Point 1 isn't just a new beginning, but a reintroduction to Marcus Drake the artist and composer. Drake experimented with new techniques and approaches for many years while recording Save Point 1, a process that transformed his sound, voice, and artistic identity. The resulting oeuvre is giddy and dreamy, an Olympic-height diving board from which to descend through indie rock and videogame soundtracks, thrilling math-rock riffs that turn experimental, and synths that glow in rainbow hues. Just turn to the glitchpop of "Heaven's in the Rot" or the slow-motion acoustic glitter that is "Dragon It Out" to hear it in motion. And note the two-part "Haunted" suite that funnels his unpredictable experimentation into darker, weirder directions.

Collapsing new rhythms and industrial visions meet restless melodic vocals on Gateway, the debut album from San Francisco duo YANTRA on Swiss label Subject To Restrictions Discs. This isn’t dance music, but you will dance to it. It isn’t ritual music, but it will channel spirits.

The dreamer is still asleep. She awakens to heed the call. Curious downtempo drums, spartan and potent, animate the body. Running through the city, shadows dance on walls, and alluring voices, whispered, sung, and soaring, possess the mind. At the end of the path, gazing at the mirror’s edge, she finds the source of the voice—and realizes it’s her own.

YANTRA are artist-producer Yaniv de Ridder, also known by the alias YNV, and lyricist-vocalist-instrumentalist Janina Angel Bath. The pair have worked together for some time, beginning with YNV’s 2021 LP Golden Hour Ritual. On Western Paradox, a YNV EP released last year on Subject To Restrictions Discs, Bath contributed vocals—and so YANTRA, the project and the concept, was born. Working together, the pair craft new forms of transcendent sound, timeless and familiar all at once