Buscar:ac in records

Steeped in classic dancefloor rhythms and sounds, ARTIFACTUAL RHYTHM presents a re-interpretation of club and DJ music through the lens of a live band with a jazz edge. Tapping into sounds of the 90s and 2000’s while keeping his foot very firmly in the now and beyond, Flood’s new body of work is both for the dancefloor and the listener.

Dubbed 'nu-jazz', 'jazztronica' and 'jazz house music', at its core Alex’s sound takes influence from house, UK garage, drum n’ bass, and broken beat. 'Artifactual' can be defined as 'made by human hands', and that’s exactly what Alex explores with this record; taking sounds and styles that are inherently electronic and giving them new life through the rawness of a live band underpinned by jazz and improvisational explorations. Music made by human hands.

Recorded live in a studio in Naarm / Melbourne and engineered, mixed, and co-produced by Lewis Moody (Energy Exchange Records), the album features a list of some of the finest players 'Down Under' including Erica Tucceri (flute), Finn Rees (keyboards), Dylan Paul (bass), as well as guest vocal features from the lyrical legend Cazeaux O.S.L.O on LIFE IS A RHYTHM, Kara Manasala on UK garage cut DON’T WAIT 4 ME, and New York soul queen Vivian Sessoms heating up some classic house energy on CAN’T GET ENOUGH.

Alexander Flood is one of Australia’s commanding beat-masters, possessing a unique and finessed arsenal of groove, power, and expertise on the drums. Leading his own band from the drum chair, Alex’s music pushes a fresh rhythmic and dynamic realm of live dance music leaning on nu-jazz, deep-house, broken beat, DnB, funk, and experimental sounds. The band has recently featured at Wellington Jazz Festival, Melbourne International Jazz Festival, SXSW Sydney, WOMADelaide, JazzMontez Frankfurt and various clubs across Europe and Australia.

Winning Australia’s Best Up and Coming Drummer Competition in 2016 was just the beginning of Flood’s accelerating trajectory in music. After graduating top of his University jazz degree in 2017, Alex signed with US label Stretch Music to release his debut album HEARTBEAT, followed by his sophomore release The Space Between in 2022. Later that year Alex toured Europe with heavyweight 6x GRAMMY nominee Christian Scott aTunde Adjuah’s band. While in Berlin Flood recorded his third album 'Oscillate' with an all-star lineup including Horatio Luna and Abase, releasing via Jakarta Records in May 2023. In 2023 Alexander was also the recipient of the highly prestigious Young Achiever Award at the Ruby Awards, as well as receiving the Robert Stigwood Fellowship (Government of South Australia).

2024 sees Alex join forces with Atjazz Record Company to release new music from his forthcoming album ARTIFACTUAL RHYTHM, as well as touring his band across Australia, New Zealand, Europe and the UK.

Some notable collaborators of Alex’s include Chief Christian Scott aTunde Adjuah, Abase, Horatio Luna, Atjazz, Vivian Sessoms, Cazeaux O.S.L.O, Nelson Dialect, the ASO, WASO, QSO, as well as working with brands including Red Bull Music and Istanbul Cymbals.

Based in Ottawa, Ontario, the capital city of Canada, The Riptides have been cranking out high-energy blasts of melodic, poppy punk rock for over 25 years. With their new LP Burn After Listening, the band makes the move to Pirates Press Records, and are ready to bring their sound to an all new worldwide audience! Originally formed in 1998, the band wasted no time assembling their own studio and label, putting out their own records as well as their fellow Ottawa bands. Word spread quickly, and the band's notoriety grew, particularly in the US, and soon the band found that they enjoyed rising to the challenge of leaving home and recording at noted US studios, with Burn After Listening being no exception. This album was recorded at the legendary Blasting Room in Fort Collins, CO, with Andrew Berlin at the helm for tracking and Jason Livermore in charge of the final master. These studio sessions included a cavalcade of friends & guest musicians, including members of Teenage Bottlerocket, All American Rejects, Screeching Weasel, and The Queers. A number of songs on the record also bear co-writing credits from fellow Pirates Press Records artist Matt DeeCRACK. Blending attitude-driven downstroke riffs with irresistible hooks and harmonies, combined with an aesthetic informed by everything from nerdy pop culture and surfing, they've already amassed quite the following across the decades, but this record stands poised to introduce them to many new fans.

Released in 1967 with personnel including Lonnie Liston Smith (piano), Ronnie Boykins (bass), and Grady Tate (drums), Now Please Don’t You Cry… marked the beginning of Roland Kirk’s groovier explorations that would eventually lead him to record Blacknuss (1971). It’s vintage Kirk in a pared-down setting and is considered an essential Kirk album. Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

BLACK/RED VINYL

A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. Drab Majesty even cameoed in a She Past Away video while being hosted by Selofan during one of the band's frequent stays in Athens, and Kaelan Mikla, a handpicked favorite of The Cure, were first championed by Selofan, through the release of the Icelandic Trio's self-titled debut in 2016. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat. Partner's In Hell was mixed and produced by Serafim Tsotsonis, and mastered by Doruk Ozturkcan. Genre: Alternative / Post-Punk / Cold Wave

It's hard to imagine El León Pardo, a loyal advocate of some of the most advanced projects in which folklore is the road map and the destination itself, without his kuisi. It's hard to see him with his hands free. Always holding on to that ancestral instrument, that pre-Colombian flute that survived the conquest and has become a symbol of resistance, overcoming the ravages of time, the imposition of ideologies, dogmas and religions. Despite all that, the kuisi continues with its liberating sound, the power of its cry, its invitation to dance, its sound a cure and a blessing. That's why it leads the way in this Viaje Sideral ("Space Voyage"), an astral journey in which the kuisi is the vehicle and the life force of the rhythm. Viaje Sideral feels like floating eternally in the infinite cosmos. This second long player from El León Pardo is inspired by humanity's relationship with the stars, escaping to mythical planes and led into a trance by Caribbean percussions, analog synths, deep bass, electric guitars and the hypnotic vibrations of the kuisis and trumpets that complete the soundtrack of this voyage. Through these nine songs, El León Pardo continues to create a sound of his own, evolving in his intention to pay tribute to the psychedelia of the tropical world of the Caribbean in the 1970s and 80s, but this time also taking as reference artists like Terry Riley, Kraftwerk and Mad Professor, including the roots of ambient and electronic music with the characteristic sound of the kuisi, an encounter of dreamlike and astral sounds, with the music of the bandas pelayeras of the tropics and figures like Pedro Laza and Juan Lara. In this new universe the Cartagena trumpeter dialogs with the past, processing the ideas that have emerged over the years and morphed into his personal search that gives an identity to his ideas, nurtured by figures like producer Diego Gómez (Llorona Records, Discos Pacífico, Cerrero) who awoke his interest in electronic instruments, Edson Velandia and kuisi maestros like Juan Carlos Medrano and Fredy Arrieta. In his sound there is a particular feature, one that contains histories of personal experiences, accompanied by the kuisi, including ancient Zenú flutes dating from between 600 and 800 AD and which helped create the atmosphere of "Invocación." "Viaje Sideral," the song that gives the album its name, was born from a dream in which two stars speed towards the earth and an imminent collision. As the record continues, the stellar connection becomes clear with songs like "Urmah" with Edson Velandia, inspired by an article about extra-terrestrial races and how the Urmah were a race of hominid felines, the greatest geneticists of the universe; and "Cumbia espacial," featuring rapping from N. Hardem, seeking to create that aura of immensity and consciousness of the infinity of the universe.

After digging deep into the overwhelming archives of Discos Fuentes and Codiscos in our previous volumes, this third instalment in the series "Cumbia Cumbia Cumbia!!!" comprises a selection of 28 Peruvian cumbia bangers for the dance floor from the deep vaults of Discos MAG, all of them originally released between 1964 and 1987. "Cumbia Cumbia Cumbia!!!" combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns. The historical origins of cumbia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together. MAG had released porros since the label was set up, and by 1957 it was already selling records by the Colombian Lucho Bermúdez, a leading figure in porro and cumbia in orchestra format, from Buenos Aires. Colombian cumbia has come a long way in Peru since those years and put down its own roots, just as it has in other Latin American countries. This third volume of the series "Cumbia, cumbia, cumbia" demonstrates how the rhythm has persisted over three decades of Peruvian recordings, ranging from versions by orchestras and ensembles to original cumbias with electric guitars, with lingering echoes of Caracas-born Hugo Blanco, Tulio Enrique León, Los Teen Agers and Amparito Jiménez. These records were played nonstop in the Peruvian coast, mountains and jungle to the cry of "¡que sigue la cumbia!". Double vinyl LP!

Here is an expanded edition of one of Nurse With Wound's most intense and unique albums, so much so that for long-time fans, it was a strange, chaotic lounge oddity upon its release. For the first time, all four audio sides are complete (originally, there were only three sides).

To top it off, there is a stunning new cover by the great and talented Babs Santini, who is none other than Steven Stapleton using his artist pseudonym, continuing in the luxurious tradition of the "silver collection" at Rotorelief Records.

The album Huffin' Rag Blues by Nurse With Wound is unique in the NWW discography. Stapleton teams up with composer, producer, and multi-instrumentalist Andrew Liles, his co-creator of musical terrorism, to tackle the genres of exotica and lounge, crushed into a joyful cacophonic mess. Longtime NWW friends Colin Potter and Matt Waldron also join in.

Blues, jazz, cop movies, bachelor pads, and TV show music are treated, discarded, then chopped up and recycled into a mix that contains tons of space but also overflows with dynamic tension, hilarious asides, sexually suggestive poetry, and a certain rock & roll abandon. It's a very surprising album for long-time fans, like a soundtrack that could accompany a David Lynch film.

It's brilliant, exasperating, hilarious, and dark enough to earn a spot in any collection that appreciates a bit of weirdness and eccentricity.

Huffin' Rag Blues incorporates more familiar musical elements—including live-played instruments, rhythm, and vocals—than nearly any other Nurse With Wound album to date. As always, the album's main focus is to create environments for lucid dreaming rather than music per se.

"CENTENNIAL EDITION
Commemorating the 100th ANNIVERSARY OF PIANO LEGEND OSCAR PETERSON
Presented here is the complete celebrated
LP At the Stratford Shakespearean Festival, showcasing Oscar Peterson's drum-less trio featuring Herb Ellis and Ray Brown live in Ontario, Canada. According to Peterson himself, the group was seldom captured so well on records.
THE COMPLETE ALBUM
180-GRAM VIRGIN VINYL
LIMITED EDITION OF 500 COPIES"

Four years after the release of his critically acclaimed third album, 'Out of the Darkness', Gizmo has been releasing new music in the run up to a fourth album due on March 21st 2025. This new music presents a compelling new chapter in Gizmo's career and reflect on a time of significant transformation both personal and professional. Gizmo has recently completed a UK/EU tour - 29 dates, across Balkan, Scandanavia, France, Germany, Switzerland, Spain, and UK and will go on another tour in Spring, with dates already announced for Edinburgh, Manchester, Cardiff and London (Jazz Café) in May 2025. Since Gizmo started releasing singles for the new album, his streaming has more than doubled. Going from 5 million streams a month to currently 11 million streams a month. His social media following has grown tenfold in the past 12 months. Gizmo has previously collaborated with artists such as Jack Savoretti, Pahua & more.

Abstract Orchestra's composer, leader, arranger and producer Rob Mitchell has now added remixing to his already notable list of credits, in this case turning his hand to Abstract's MADVILLAIN project. Rob has worked with many artists during his busy career; The Haggis Horns, Rag 'n' Bone Man, Sharon Jones and the Dap–Kings, Brand New Heavies, and Slum Village, alongside many others but it was the orchestra's work he wanted to revisit. Seeing the pandemic as an opportunity to spend more time in the studio, Rob spent several months polishing his production skills before embarking on this remix project, he wanted to make sure he did it justice. Working under the moniker Ghostlife, a nod to the fabled anonymity of rapper MF DOOM, Rob has reworked the big band orchestration of Abstract, creating a beat led affair with greater dance floor appeal.

For Abstract Orchestra MADVILLAIN REMIXES, Ghostlife cherry picked ten tracks from Abstract's two-album project and plays with a higher BPM count within the hip hop aesthetic of the original. The tracks include "Raid", "Fancy Clown", "Curls", and "Figaro" and in this case Ghostlife has forgone the big arrangements Abstract is known for, rather he has coaxed out hooks and samples from their tracks and produced something he hope will appeal to a different crowd. There is dancefloor potential in "Eye","Accordian" and bass heavy "Borrowed Time" while the reworks of 'Fancy Clown" and "Curls" would fit well into any radio show.

Glasgow-based producer Conna Haraway returns to Theory Therapy with his first vinyl release, Spatial Fix. Inspired in part by his 2024 tour of Japan and Korea, the album explores new dimensions of his evolving sound.

Since Lusidiq – his debut on Theory Therapy – the co:clear owner has honed his ability to balance introspective atmospheres with crisp, meticulously crafted rhythms, imbuing his music with a physicality that’s as tactile as it is hypnotic.

Spatial Fix expands on this approach in every respect. The record oscillates between ambient abstraction and rhythmic intensity, seamlessly weaving the two together. Tracks like “Freon” and “1702” are anchored by a propulsive low end, woven through with Haraway’s crackling textures and field recordings – including those captured across Asia last year. Even in these deeply immersive moments, there’s always something luminous lurking beneath the surface – snaps, clicks, and micro-shudders ripple throughout in strange and surprising ways. The result is an album that pulls you into a writhing, disorienting space, a psychedelic sonic world where beauty and unease pulse in equal measure.

Spatial Fix is available as a limited edition run of 200 12-inch vinyl records.


Written & Produced by Conna Haraway
Mastered by Ike Zwanikken
Lacquer cut by Henry Rudkins
Artwork & Design by Conna Haraway & Gary Hunter

Geniusz, Minor Talent, Generational Talent. Let the old folks fight it out. Sharp Pins are too busy staying up late watching vampire movies. Fathers and Children of the Revolution. Finally cartographed and designed by the actual Youth in Revolt "Nothing Stands in their way, they ARE the face of today". How can you tell you've been in the presence of the Sharp Pins? You see their sticker on yr phone, yr car, yr guitar, yr drums, yr bass, yr clarinet, yr flugelhorn, yr tuba, yr dog - its a MOD MOD WORLD, we're just living in it. 14 tracks 33RPM. Sharp Pins is the super solid lo-fi noise pop project of talented Chicago musician Kai Slater of Lifeguard and Dwaal Troupe."Radio DDR" originally released at home as a Hallogallo tape. "Youth Revolution Now".

Saxon are an English heavy metal band formed in Barnsley in 1975. As leaders of the new wave of British heavy metal (NWOBHM), they had eight UK Top 40 albums during the 1980s. They established themselves among Europe's most successful metal acts. The band tours regularly and have sold more than 23 million records worldwide The Eagle Has Landed - part II was recorded during their European tour in support of their Dogs of War album (MOVLP3570). It delves deeply into the band's latter-day catalog and offers excellent sound quality to boot. It's packed with fan favourites and features guitar legend Yngwie Malmsteen as a guest on the track "Denim and Leather". The Eagle Has Landed - part II is available a limited numbered edition of 1000 copies on translucent red vinyl and contains a 4 page booklet and additional cover print.

Goldstar takes perennial New Yorkers, IMPERIAL TRIUMPHANT's exploration of the extreme and arcane and delivers the band’s most focused, authentic and accessible work to date. While the triumvirate has expanded the language of extreme music with albums including Alphaville (2021) and Spirit of Ecstasy (2023) via musical improvisation and a visual obliqueness that extends to their haunting masked performances, this is their defining moment. Also joining the Decibel magazine vaunted ensemble are Meshuggah drummer Thomas Haake and legendary drummer, Dave Lombardo, both of whose presence makes it clear that musically, IMPERIAL TRIUMPHANT are in a class by themselves. From album opener “Eye of Mars” to the stirring “Hotel Sphinx” and the death metal scraping “Rot Moderne”, this is the sound of IMPERIAL capitalizing on months of churning up the road in the company of Behemoth, Carcass and Zeal & Ardor. In their vision of urban disorder, IMPERIAL TRIUMPHANT's monolithic cityscapes are dark as any of their extreme or black metal brethren.

Neon pink vinyl, limited to 500 copies. Who were the first punks? Do The Damned have more of a shout than The Sex Pistols? The Stooges or Ramones? Gregg Deal, the acclaimed visual and performance artist behind his new project Dead Pioneers, is making a claim that Indigenous Americans were the first real punks. Deal suggests that the overarching theme of the album is "an introduction to the band itself". Created with a DIY disposition and the "love of a scene that saves lives", they reel off a roll call of marginalised groups and protected characteristics: "Indigenous rights, Black rights, Brown rights, Asian rights, Gay rights, Trans rights, Workers rights and beyond_". This is central to their identity and focus, saying that "with a North American Indigenous person as the vocalist, being unapologetically upfront on the social, political and cultural side of things doesn't seem necessary, but paramount to the overall tone of the band." This self-titled debut, coming in at a lithe 22 minutes with only one of the twelve tracks exceeding three minutes, is almost over before it begins, but covers a huge amount of ground in that time. Blistering opener 'Tired' sets out their stall; as with the whole album, it is passionate, but never preaching. Capitalised 'Political Music' can be hard to land without coming across as hectoring or earnest, but Deal's literary, humorous lyrics effortlessly cut through complex issues of marginalisation and colonialism.

Bobby Rush and Kenny Wayne Shepherd were born about 44 years and miles apart. Several decades later after the two forged their own path in music and the blues, it seemed like an idea that had been waiting to happen. For over 100 years, blues music has inspired, comforted and spoken to the truth. YOUNG FASHIONED WAYS has managed to accomplish all of that and more. Shepherd notes, “Once Bobby and I got together, it felt like going home," with Rush adding, "I've been waiting a long time for something like this to come knocking.” Kenny Wayne Shepherd is a multi-platinum recording artist with five Grammy nominations, several Blues Music awards, among many other awards and accolades. Bobby Rush is a 3x Grammy winner and Blues Hall of Famer with his most recent Grammy win for his last album All My Love For You.”

Es ist das Jahr 2012. No Future war gestern, Phon heißt jetzt dB und sogar das Internet hat sich halbwegs
durchgesetzt. Nun auch noch „auch“. Hast du nichts Besseres zu tun als die die ärzte zu hör’n?
Das Ende ist noch nicht vorbei. Die Beste Band der Welt ist jetzt eine Demokratie, ein Triumvirat
des guten Willens, eine GbR der Gerechtigkeit und sie haben viel zu viel Zeit, um sich nicht um den Rock
zu kümmern. Und natürlich um alle Phasen der engeren Beziehung zwischen Männern & Frauen & allen
anderen. Vom mehr oder weniger schüchternen Balzverhalten beim mehr oder weniger hoffnungsbeladenen ersten Fernblickkontakt bis zum passiv-aggressiven Psychoterror der Post-Partnerschaft. Philosophisch
wird’s obendrein.
„zeiDverschwÄndung“ fragt nach dem Sinn unseres Daseins und ob wir nicht einfach mal irgendwas anderes machen sollten, als Fan von BelaFarinRod zu sein. „Tamagotchi“ stellt den schwierigen ethischen
Problemen im beginnenden Zeitalter der Künstlichen Intelligenz eine wahre Hymne an Emotion entgegen.
„Waldspaziergang mit Folgen“ liefert einen ganz neuen Denkansatz der Theosophie. „M&F“ hingegen
wollen in aller Regel einfach nur in allen Konstellationen poppen.
die ärzte: Jetzt mit der absoluten Leere, ordentlich HeyHey!, einem Gott im Regal und der entscheidenden
Frage: Ist das noch Punkrock?

Es ist das Jahr 2000. Der Begriff „Kuschelrock“ muss neu bewertet werden. Nach dem Megaerfolg des Vorgängers „13“ soll ein neues Album her. die ärzte wollen es noch ein bisschen alberner. Also wird zum Aufwärmen mit „5, 6, 7, 8 – Bullenstaat“ erstmal eine Ultra-Deutschpunk-EP eingespielt. Die Entstehung des neuen Albumtitels ist zwar beschreib- aber nicht erklärbar. Und: Plüsch. Unter der flauschigen Hülle entpuppt sich „Runter mit den Spendierhosen, Unsichtbarer!“ als Füllhorn von Hits, die nahezu alle noch ein knappes Vierteljahrhundert später einen festen Platz im nicht gerade schmalbrüstigen Klassiker-Kanon der Besten Band der Welt innehaben und dabei dem Zeitgeist weit voraus eilen. Denn die ärzte sind – Überraschung! – vor allem bei einem Thema außerordentlich divers aufgestellt: Geschlechtsverkehr. Den gibt es in allen erdenklichen Spielarten, inklusive mehr oder weniger geläufiger Probleme, die den Spaß zwischen Männern, Frauen und allem dazwischen leider zu oft verkomplizieren. „Du nervst noch mehr als Yoko Ono“ ist nicht nur längst Alltagssprache sondern landet für das kurze, aber schmerzvolle Video sogar im Guinness-Buch der Rekorde. „Manchmal haben Frauen“ wächst sich ob des handfesten Themas fast zu einem mittleren Skandal aus, wird dann – dank des noch handfesteren Videos – zum Radiohit und zeigt letztendlich eine Option zur feministischen Selbstermächtigung auf. „Rock Rendezvous“ ist überaus F-Wort-intensiv und hemmungslos lustig. Aber auch sonst sind BelaFarinRod äußerst gut aufgelegt, reimen sich selbst für ihre Maßstäbe extensiv um Kopf und Kragen und sind außerdem noch total Rock.

A new artist appears on the streets of City HC Records, he is Andrey Orenstein
multidisciplinary artist, part of the alternative Rock band ‘Tequilajazz’, with several solo musical incarnations such as: Amor Entrave, for electronic Indie beats with tocuhes of IDM of broken beats, Do you like trains? for Acid House, and 50DIX, dedicated to street beats such as jungle, drum n bass, ghetto house, Juke and Footwork, and the pseudonym he uses for Go Ahead! EP, the new and multifaceted 22nd release from the Valencian label.

IF U WANT 2 is the elegant track that takes us into the bustling avenues of the 2st century megapolis, where the urban rhythms of the dance battles in Chicago, Footwork and Juke, along with brief Jungle passages alternate in a brilliant composition with funk and jazz nuances accompanying tight percussion and distorted kicks at 160 BPM.

Tough and Ghetto House and rugged acid define FOOLZ, second track of the A-side in which the demonic power of the 303 sounds embrace the thick and husky voice that together with infectious laughter set a rhythm as pugnacious as it is playful.

FETTA DI LIMONE, Juke, Footwork and Jungle, a perfect combination of American influences, legacy of Dj Rashad together with the English tradition around bass music, are fused by 50DIX with the unexpected and playful Italian lyrics of Tomasso Girardi, in perfect conjunction with the pianos, ethereal pads and mutant synths, that forge the development of the track. Already anthemic before the first beat sounds.

Juke, IDM, Halftime and abstract broken beats combine for the ultimate dance elixir, in the last track of the vinyl titled ICE FEELS KEEN, reaching 170 BPM in a catharsis of braindance, soul and acid exaltation in a dreamy harmony, where the syncopated notes of Oleg Egorov's bass and the velvety voice of Julia Garnits (Ice Hokku) commune.

Bonus digital track - 50Dix ICE FEELS KEEN (DZA REFLIP). Hypnotic, sharp and minimalistic, DZA's remix transforms the original track into an intimate and evocative experience, in which every sonic element acquires more prominence and presence.

Bonus digital track 2 - Fetta di limone (Kaxtelian remix) Inspired by the classic hardtrance sounds of the 90s, from Valencian dance temples such as Chocolate, Kaxtelian reinterprets the track with distorted drums, catchy melodies and Rave spirit at 165 bpm.

Mastering by Steve Voidloss at Black Monolith Studios in London (UK), except for the Bonus track 2 mastered by Raszia.

Once again, artwork and design by Dani Requeni, giving artistic coherence to the label's aesthetic.

Cut-Line Records proudly unveils its inaugural release, featuring a collection of euphoric, minimal, and
breaky tracks that resonate deeply within the realm of house music. Launched by lifelong mates and
production partners Maják and Diego Knows, this label aims to capture the essence of dancefloor
energy while pushing creative boundaries across an endless soundscape of alien vibes.
Setting the stage, Pedro Goya’s “Celeste” opens the EP with a euphoric minimal groove that perfectly
encapsulates the magic of house, taking you on an emotional journey that sweeps you away into
sound. Next, we dive headfirst into "Alien Vision" by Francula & St. Xose—a gritty, breaky banger
loaded with gnarly vocals and a tight groove, punctuated by an uplifting euphoric break that keeps the
energy flowing on the dancefloor.

At the heart of this release lies the highly anticipated "Warning Bells" from Digital Pimps, which opens
the B-side. This classic '90s break track, once long lost and now reborn, roars back to life thanks to a
brilliant remaster that is sure to evoke nostalgia. Collaborating with the original artist, New York local
Fonseca 72, we’ve breathed new life into this beloved classic, ensuring it grooves on vinyl for a whole
new generation of listeners.

To round off this sonic journey, our label heads deliver their own signature flavor on B2. Expect pure
pumping grooves with a dash of funk, wrapped in their iconic psychedelic minimal vibe that will keep
you hooked. With this debut, Cut-Line Records invites you to embark on a journey filled with rich
textures, infectious rhythms, and the vibrant spirit of house music. This EP is an absolute must-have!
Grab it before it's gone!

Also known as "Portland's Pillar Of Soul", Ural Thomas is a widely esteemed Portland based r&b singer-songwriter and musician, active since the 1950s. Still going strong over almost three-quarter century's worth of performing and releasing, Thomas' breathtaking oeuvre comes to a recent head on this latest LP+7" via Cairo, 'Nat Ural'. Eschewing his latest incarnation with backing The Pain (making up Ural Thomas and the Pain), which was formed after a long hiatus, we return to Thomas' solo sensibility here. A new LP backed up by a sneaky extra 7", Thomas' distinctive, homely brand of strutting vocal soul is once more put on display here.

One of the rarest and most sought after roots grails in existence from enigmatic Jamaican Canadian singer Prince Robinson aka R. Man Prince.

Funny Dream, an apocalyptic roots stepper from 1976 is a 45 so rare that it has developed its own mythology in the small circle of collectors who know of its existence.

One rumour suggests that so few copies exist because Robinson’s Russian wife took all the records from Canada back across the iron curtain in the late 70s when they split up. Some suggested he had died.

Shella Records eventually tracked down Prince Robinson not far from Toronto and learned the true story of why the original 45 is so impossibly rare- almost all copies were destroyed shortly after they were pressed, tragically reduced to ashes inside an incinerator.

Thankfully Prince has kept the original mastertapes stored safely in a briefcase for almost 50 years knowing that his music had value and biding his time.

Born out of the early 1980's Austin noise punk scene, Scratch Acid deliberately eschewed the loud, fast rules of hardcore as everything they didn't want to be and embraced a weirder, artier sound. Prior to the release of their 1984 debut S/T EP, someone gave Touch and Go Records owner Corey Rusk a cassette of the recording, and he was instantly a huge fan. Rusk was immediately interested in releasing the EP and contacted the band to express his admiration. At the time, Scratch Acid had already committed to working with Rabid Cat Records. The group quickly developed a riveting performance aesthetic, and, as the debut S/T EP made its way around the country via fanzines, college radio, and word-of-mouth, the band mounted short tours to the Midwest and the East Coast. While he was not able to work with Scratch Acid directly through Touch and Go, Rusk had begun booking shows with Scratch Acid in Detroit, so he could see them live and meet them. A friendship formed, and Touch and Go Records would eventually release the band's second EP, Berserker, in 1987.

White LP. Born out of the early 1980's Austin noise punk scene, Scratch Acid deliberately eschewed the loud, fast rules of hardcore as everything they didn't want to be and embraced a weirder, artier sound. Prior to the release of their 1984 debut S/T EP, someone gave Touch and Go Records owner Corey Rusk a cassette of the recording, and he was instantly a huge fan. Rusk was immediately interested in releasing the EP and contacted the band to express his admiration. At the time, Scratch Acid had already committed to working with Rabid Cat Records, who released the band's debut release S/T EP (1984) and their only full-length album, Just Keep Eating (1986). The group quickly developed a riveting performance aesthetic, and, as the debut S/T EP made its way around the country via fanzines, college radio, and word-of-mouth, the band mounted short tours to the Midwest and the East Coast. After playing a total of 146 shows, Scratch Acid broke up after the long tour that followed the release of the Berserker EP (Touch and Go Records, 1987). Since that time, the band have had many imitators, and many alternative bands have cited Scratch Acid as one of their influences.

Born out of the early 1980's Austin noise punk scene, Scratch Acid deliberately eschewed the loud, fast rules of hardcore as everything they didn't want to be and embraced a weirder, artier sound. The band's eventual permanent line-up consisted of David Yow on vocals, Brett Bradford on guitar, David Wm. Sims on bass, and Rey Washam on drums. During their brief existence from 1982 to 1987, the band released 3 records, including a full-length album (Just Keep Eating) and two EPs (S/T EP, Berserker). On March 14, 2025, Touch and Go Records will release the Scratch Acid Box Set - limited to 2000 sets worldwide. Remastered by Bob Weston at Chicago Mastering Service, the box set includes 180-gram clear LP pressings of all three releases as well as a 24-page booklet featuring exclusive behind-the-scenes photos, liner notes by David Yow, Brett Bradford, and photographer/journalist Pat Blashill, as well as full-color paintings by contemporary artist Mark Todd from the same era as the cover art for the S/T EP and Berserker releases. In addition, this limited Scratch Acid box set includes an exclusive clear vinyl 7" with both tracks the band contributed to the 1986 Touch and Go Records compilation, God's Favorite Dog. The 7-inch includes cover art by Mark Todd as well.

High Roller Records, ULTIMATE EDITION, 4th pressing, 180g black vinyl, ltd 350, 425gsm heavy cardboard cover, lyric insert, poster, black vinyl bonus 7" in picture sleeve, restored & mastered by Patrick W. Engel at Temple of Disharmony, Cutting by SST Germany on Neumann machines for optimal quality on all levels.

Capturing phantom drones behind dusty beats and haunted twangs, Ellis Swan and James Schimpl return for their third album as Dead Bandit. Locked into a musical language unique to their collaboration, the duo once again put us out to pasture across broad sonic plains, drums flapping like loose fence panels in the prairie breeze and bass rumbling like distant thunder. True to their previous two records, Swan and Schimpl keep the strung out guitars at the front of what they do, whether playing a naked, desolate strum or running six strings through disruptive effects processing until they're barely recognisable.
But while there are details of disturbance when listening to Dead Bandit's self-titled record up close, the wider impression is a smoother, more direct affair that toys with post-rock complexity and matches it with the emotional weight of melodic simplicity, gentle grooves and conscious arrangements. 'Weeds' offsets its languid fuzz guitar with shimmering sustained notes before settling into a patient, heavy-hearted composition charged with heartbreak leads pealing out in the middle distance.
By comparison, 'Glass' has a smoky, half-hidden backroom quality. Its brushed whisper of a beat, lingering guitar drones and subtle sub bass come on like a dub wise flip of a sad-eyed country ballad. The mood maintains on 'Half Smoked Cigarette', which captures the grey sky sullenness of post-punk and reframes it in the seductive isolation of rural America. While there's a thickness to the sound on these most direct of tracks on the album, there's also fragility inherent to the sound world Dead Bandit have been shaping out over these past few years.
'Buttercup' swaps sadness for sinister undercurrents, once more drawing on fulsome low end to fill out the sparse threads of instrumentation up top. 'Pink' finds a steady momentum for its own brand of brooding mystery, the sharp end of the beat bringing focus to the many-layered approaches to the guitar which roundly define the Dead Bandit sound. There's an even clearer direction mapped out in the vintage drum machine pulse of 'Koyo', all the better to carry swirling effects treatments and moody melodic figures. Even in these ominous climes there's space for plaintive, endearing hooks which land as the most direct phrases in Dead Bandit's musical lexicon to date.
The fundamental sound across this album holds true, but Dead Bandit are never bound to a singular practice. 'Lucien's Bitters' strikes up a pronounced drum machine beat which comes on like 90s downtempo, and it feels like a natural vessel for the heavy, shoegaze tinted lament of the guitars. At every turn, Swan and Schimpl prove their affinity for all kinds of approaches, and yet the end product is a deeply cohesive, immediate listen that shows just how clear their creative vision really is.

The band is considered as a unique combination of the darkest sides of many
underground genres like grindcore, black/death metal, ambient, drone and of course
psychedelic music.

Tons formed in 2009 with members of hardcore bands from the 00's Turin scene (The
Redrum, Lama Tematica and NoInfo). Slow and heavy sounds take the place of
frenetic HC rhythms; the texts speak about weed in an ironic way, but also about a
certain tendency to esotericism that characterizes the city of Turin. In 2010 they
recorded a demo and in 2012 their first full length "Musinee Doom Session, Volume 1",
recorded by Danilo "Dano" Battocchio, was released for the Turin-based Escape From
Today (EFT050) and for the young Roman label, Heavy Psych Sounds (First non Black
Rainbows release, HPS005). In 2013 a split with Lento from Rome came out and Tons
began to plow the European venues, opening the stage for bands like Bongzilla,
Unsane, Church of Misery, Napalm Death, Pentagram etc ...

In 2015 the drummer Marco Dinocco left the band and was replaced by Andrea
Peracchia (Dogs for Breakfast/Slaiver). Paolo Paganelli (Woptime/Linea77) was also
added as lead guitarist. In 2018 the second full length of the band "Filthy Flowers of
Doom" was released for Heavy Psych Sounds Records, which would bring Tons again
around Europe in 2018 and in 2019. In 2021 they released a split record with the
mighty Bongzilla followed by a European tour together in 2022. On 7th October 2022
the band released a brand new album called "Hashension" and a repress for the 10th
anniversary of their debut album "Musinee Doom Session, Volume 1" with remastered
audio and a new cover artwork.

During these years Tons played in many important Festival, such as Desert Fest
London and Antwerp, Sonic Blast, Frantic Fest, Venezia Hardcore and HPS Fest.
QUOTE From the Band :"Three fun tracks for lovers of head banging who don't take
themselves too seriously like our friends Teo Segale (Rumore Mag.) and Ranch Sironi
(Nebula) to whom these songs are dedicated. "

This latest opus marks the band's studio comeback since 2018's "City Of Dope And
Violence", plus the opportunity to work with underground scene juggernauts like Tons
and Subsound Records and the consolidation of Alexander Lizzori as active producer
("Cyclops" / "2" era drummer and long time collaborator).

The band is considered as a unique combination of the darkest sides of many
underground genres like grindcore, black/death metal, ambient, drone and of course
psychedelic music.

Tons formed in 2009 with members of hardcore bands from the 00's Turin scene (The
Redrum, Lama Tematica and NoInfo). Slow and heavy sounds take the place of
frenetic HC rhythms; the texts speak about weed in an ironic way, but also about a
certain tendency to esotericism that characterizes the city of Turin. In 2010 they
recorded a demo and in 2012 their first full length "Musinee Doom Session, Volume 1",
recorded by Danilo "Dano" Battocchio, was released for the Turin-based Escape From
Today (EFT050) and for the young Roman label, Heavy Psych Sounds (First non Black
Rainbows release, HPS005). In 2013 a split with Lento from Rome came out and Tons
began to plow the European venues, opening the stage for bands like Bongzilla,
Unsane, Church of Misery, Napalm Death, Pentagram etc ...

In 2015 the drummer Marco Dinocco left the band and was replaced by Andrea
Peracchia (Dogs for Breakfast/Slaiver). Paolo Paganelli (Woptime/Linea77) was also
added as lead guitarist. In 2018 the second full length of the band "Filthy Flowers of
Doom" was released for Heavy Psych Sounds Records, which would bring Tons again
around Europe in 2018 and in 2019. In 2021 they released a split record with the
mighty Bongzilla followed by a European tour together in 2022. On 7th October 2022
the band released a brand new album called "Hashension" and a repress for the 10th
anniversary of their debut album "Musinee Doom Session, Volume 1" with remastered
audio and a new cover artwork.

During these years Tons played in many important Festival, such as Desert Fest
London and Antwerp, Sonic Blast, Frantic Fest, Venezia Hardcore and HPS Fest.
QUOTE From the Band :"Three fun tracks for lovers of head banging who don't take
themselves too seriously like our friends Teo Segale (Rumore Mag.) and Ranch Sironi
(Nebula) to whom these songs are dedicated. "

This latest opus marks the band's studio comeback since 2018's "City Of Dope And
Violence", plus the opportunity to work with underground scene juggernauts like Tons
and Subsound Records and the consolidation of Alexander Lizzori as active producer
("Cyclops" / "2" era drummer and long time collaborator).

These two vinyl records showcase the legacy left by the boogaloo movement in Peru between 1966 and 1975. They comprise twenty-two songs by seventeen artists who recorded on the remarkable local label MAG more than five decades ago and now invite today’s new generations to dance body and soul to these re-releases. You will find outstanding tracks by the likes of Tito Chicoma, Melcochita, Los Kintos, Otto Rojas, Coco Lagos among many others. MAG was one of the most important and prolific labels in Peru and, though it also was involved in releasing a lot of other types of music, its specialty was the tropical variety, which coincidentally, DJs and collectors seem to crave most. Peru developed a major boogaloo scene in the mid-60s, far from the genre’s place of origin, New York, where iconic songs like 'Bang Bang' and 'El Pito', fused soul and funk with Latin sounds, conquering dance halls and winning extensive radio airplay. The music trend soon spread to Caribbean countries and from there made the geographical leap to the city of Lima. 'El Pito', the collective creation of the Joe Cuba Sextet, was particularly popular. Shorn of overelaborate arrangements, the improvisation and spontaneity of the song resonated with the young generation who were avid for new music after the U.S. placed an embargo on the distribution of Cuban music. In July 1966, Rebeca Llave´s label, Disperú, released the 45 RPM of 'El Pito' (and Joe Cuba's LP), promoting the single in the most prestigious newspaper in the country: El Comercio. The press information stated that the record had sold seventy thousand copies in New York and fifty thousand in Los Angeles. That same year local dance versions by the bands of Alfredo Linares (MAG) and Lucho Macedo (El Virrey) were released, followed by another by the band of the Argentinean musician Enrique Lynch who was based in Peru (Sono Radio). These records were a hit with a new generation that embraced Lucho Macedo's band and the garage rock of Los York's with equal enthusiasm. Although Joe Bataan claimed that boogaloo was killed off at the end of the sixties by the labels and their veteran musicians (who conspired against the new generation of singers), Pete Rodriguez, Richie Ray and the Lebrón Brothers continued to release boogaloo records in Peru, but salsa music soon took over.

LOUISVILLE, KENTUCKY has had more than its share of out-of-nowhere bands following from the second big bang that was punk rock. The Babylon Dance Band, Circle X, Your Food, Squirrel Bait, Bastro...these are but some of the exceptional music acts originating in Louisville after 1977. Now it"s time for the great secret of the Louisville first-wave punk scene to be revealed: The Endtables. The Endtables were the crazed brainchild of guitarist Alex Durig, brooding chess-master of the amplified freak-out, and singer Steve Rigot, a flamboyant transgender giant from the shores of southern Indiana who reinvented himself as a Warhol Factory superstar. Like Scarlett O"Hara wrapped in a green velvet curtain, Rigot crafted his own glamorous reality from what was available in the blasted cultural landscape of 1970"s Kentucky. Gold spray paint, duct tape, Ace bandages ... a spectacularly other trailblazer who caused folks to toss their received ideas of beauty and go with the new thing instead. The band first took the stage in late 1978 and was finished by the summer of 1980. In the fall of 1979 they recorded six tracks at a Louisville studio, four of which came out on a 7" EP on their own Tuesday Records. The two remaining tracks ("White Glove Test" and "Trick or Treat") were issued as a single on Self Destruct records in 1991. Both records are among the rarest of any American punk release - more sought after than seen, passed on disintegrating cassette tapes and shouted over upon impact. The music of The Endtables is another chapter in pure American weirdness, as jaw-locking today as the day it was recorded. The scent of modern can be detected in Steve Rigot"s remote vocalese, set against Alex Durig"s guitar outbursts, while drummer Steven Jan Humphrey and bassist Albert Durig (age fifteen!) supply frenzied rhythm. The band rocks its fevered vision to a ferocious degree while Rigot grimly rhymes the truths that remained locked out of the public"s pop tastes in "79-"80. Thirty years of rap and roll later, The Endtables seem inevitable.

Members went on to Sinkane, and Pompeii, This Morning. Originally recorded in the
summer of 2005 out west, while on tour, by Vince Tennant. The recording had been
shelved and unreleased. In 2023, Expert Work Records reached out to Sweetheart and
got the recording re-mastered. It will be released on limited vinyl and digital.
This is also a companion piece/ record with EW018 (Sweetheart- The Process of
Making Us Well). We highly suggest getting both records.
Sweetheart's "The Unbearable Tightness Of Being" is one of those records you should
put on your radar as soon as possible. A rediscovered artifact from 2005, the album is
a sonic panorama that intricately incorporates post- hardcore, noise rock, punk,
screamo, and indie elements into an innovative and complex sonic landscape. The
guitars, wielded with finesse, serve as the driving force behind Sweetheart's sonic
assault. From the opening chords to the closing refrains, they deliver a relentless
barrage of riffs that defy predictability. The interplay between the two guitarists
manifests as a dynamic dialogue - a musical conversation that seamlessly transitions
from chaotic dissonance to moments of clarity. Catchy, intricate, and hypnotic chord
progressions unfold, evoking the spirit of At The Drive-In and Fugazi while carving a
distinct sonic identity.
However, it's not merely about sonic assault; Sweetheart infuses the album with a
nuanced approach to melody. Amidst the aggressive riffage, this material treats
listeners with moments of harmonic beauty and unexpected melodic twists. Themes,
leads, melodies, and harmonies intermingle, creating a rich auditory experience that
transcends the boundaries of conventional post-hardcore.
The production quality of this long- lost gem further accentuates its brilliance.
Recorded in 2005 but kept in the shadows due to financial constraints and a desire for
perfection, the album has now found its moment in the sun. Expert Work's decision to
release the LP in 2024 has allowed audiences to appreciate the intelligent
craftsmanship that went into its creation.
"The Unbearable Tightness Of Being" is more than a musical journey; it's a sonic
exploration transcending all the possible sonic boundaries. Sweetheart's commitment
to experimentation and honesty, as emphasized by band members reflecting on their
creative process, is palpable. The act of listening, treated as a discipline, is evident in
the careful construction of each track - a result of repetitive practice, internalization,
and an unwavering dedication to their craft. In the grander narrative of the album's
release, the band's reflections on the passage of time and the meaning of their work
imbue the music with a poignant depth.
"The Unbearable Tightness Of Being" is a mandatory addition to any record collection.
It's not just a revival of the early 2000s scene; it's a sheer example of Sweetheart's
enduring brilliance and a celebration of a significant part of their musical legacy.

The lost companion EP to The Unbearable Tightness of Being, by Ohio's,
Sweetheart
Recorded by the band in a warehouse in Columbus, Ohio, spring 2005.
A single sided 12" record containing one 12 minute song. Limited to 300 copies on
180 gram vinyl and digital.
This record is meant to go together with EW017- Sweetheart- The Unbearable
Tightness of Being LP. We highly suggest getting both records.
Sweetheart's latest offering, "The Process Of Making Us Well," serves as an intricate
sonic landscape woven with a fearless fusion of genres, defying the established
norms of post- hardcore. This one- track EP, released under theExpert Work Records
banner, is not just an auditory journey but a rock-solid proof of their ability to blend
post-hardcore, noise rock, punk, screamo, emo, and indie influences into an immersive
sonic experience that transcends conventional boundaries. Setting themselves apart
from the early noughties post- hardcore scene, Sweetheart skillfully navigate away
from the cliches that often haunted many underground acts of the era. "The Process
Of Making Us Well" unfolds as an epic composition, a 12-minute sonic odyssey that
takes the listener on a transformative journey. The band showcases a mastery of
dynamics, skillfully transitioning from serene, ethereal instrumentations to intense,
powerful crescendos, creating an emotional landscape that captivates the listener
from scratch to finish.
Released as part of Expert Work Records' series, "The Process Of Making Us Well"
holds the distinction of being Sweetheart's longest recorded piece. The record arrives
in a high- quality cardboard sleeve, decorated with an entirely minimalistic lettering,
leaving audio content in the sole focus. It's a wise choice, considering that
Sweetheart's music deserves your utmost attention. "The Process Of Making Us Well"
is an essential exploration into endless possibilities of post- hardcore, noise rock,
screamo, and emo music. Sweetheart, sadly overlooked amidst a sea of similar bands
during their era, emerges as a beacon of innovation with this remarkable release. "The
Process Of Making Us Well" solidifies Sweetheart's status as one of the best bands of
their time, a hidden gem deserving of retrospective recognition and appreciation

Fifteen years after releasing two exceptional postpunk-meets-shoegazemeets-dream pop albums on Caroline Records, New York-based outfit
Springhouse (Mitch Friedland, Larry Heinemann, Jack Rabid) reconvened to
record a third album, From Now to OK, co-released on CD with Independent
Project Records in 2008
Now appearing for the very first time on vinyl, the record captures the three piece
exploring a more acoustic, folk rock- indebted sound: still showing their trademark
flair for dreamy melodic textures, the ever Anglophile Springhouse can be heard
embracing the late 60s influence of Nick Drake and The Beatles. This newlyexpanded edition of From Now to OK comes with a bonus CD of previously unreleased
demos and live recordings. Preserved in a beautiful package from master designer
Bruce Licher, this custom-cut metallic ink jacket is sure to be a collector's highlight.

Joni Void, the artistic persona of Montréal-based French-British producer Jean Néant (he/them) returns to songcraft on their warmest and most welcoming record yet, where the acclaimed sampledelic sound collagist chills out with an emotionally resonant song cycle tinged by downtempo, lo-fi, avant-pop, and trip-hop. Guests include Haco, Ytamo, Sook-Yin Lee, Pink Navel and N NAO. Every Life Is A Light expands on Void's recent stylistic turn towards more languorous and mellow lo-fi production, foreshadowed by the drifting looseness and ambient bricolage of their preceding experimental sound-art record. This transitional sensibility now shapes more defined song structures and styles, with loops are given time and space to unspool, and rhythms shot through the softer-focus lens of trip-hop and dub. Every Life Is A Light swaps the twitchy insistence of Void's acclaimed early albums for a newfound lightness and suppleness, still imbued with all the restlessness, sonic detailing, and emotional resonance that made their name. The neurotic brokenmachine kinetics of earlier Void, summarized by Sasha Geffen as "drawing despair and wonder from within the vast unfeeling of digital communication" in an 8.0 Pitchfork review, may be chilling out, but Void is becoming an ever better conjurer of hauntological feeling. Every Life Is A Light summons this in a comparatively buoyant, benevolent, head-nodding journey more open to tenderness and modest joys. Perhaps it's the sound of Void at greater peace with themselves and the world, despite the bittersweet cost: even as it channels grief, memorializing comrades and companions recently deceased, this album wants light. Void's raw materials continue to draw heavily from samples (their own Walkman cassette fieldrecordings and songs by others) and from a wide community of musical guests. Vocalists Haco on "Time Zone" and Ytamo on "Cloud Level" help levitate what could be lost tracks from a mid-90s Too Pure Records compilation of skewed-lounge electronica. Canadian musician Sook-Yin Lee sings on lead single "Vertigo," a sinewy 80bpm tape-loop and bassline groove propelled by psychedelically-layered lyrics that eventually turn the song in on itself entirely, like Grace Jones' "Nightclubbing" covered by Animal Collective. One of Void's greatest hip-hop loves is the Ruby Yacht collective; charter member Pink Navel drops some brilliant verses on "Story Board." The album's two minimal tracks, an extended piano loop set to a slow beat and shimmering electronics on "Muffin-A Song For My Cat" and the languid sampled bass riff and breakbeat of "Event Flow," are perhaps most overtly `lofi chill.' Indeed the whole album could be said to sit adjacent to those viral (if not already AI-generated) genre trends, which maybe begs the question on a lot of our minds: can specificity and authenticity of musical materials still be heard, still meaningfully signify substance and difference, still matter? Perhaps a question that fades in comparison to the career break Void could catch by landing on generic streaming playlists. More likely, these tracks remain too off-kilter, too genuinely lo-fi and ineffable, and too disqualified by the status of its peasant rights-holders, to catch the algos. Context remains the poor cousin of content. Meanwhile Void marches on, as a tireless organizer of local music events, bouncing around and often living in DIY venue, depending on the latest apartment eviction. With an ubiquitous polaroid camera in tow, they also document each communal happening with a single shot (and often a blinding flash bulb): a memory and metaphor for lives illuminated preciously, singularly, `imperfectly' in the moment. Dozens of these polaroids adorn the album's back cover and inner sleeve art in grid-like montages, as a fitting analog for the careful construction, grainy intimate materiality, and ephemeral feeling of these songs. Every Life Is A Light is Joni Void's most coherent and congenial record while relinquishing none of their experimentalist acumen as a producer or emotional attunement as a composer. Instead these qualities flourish, on an album that lights a humble flame for the fragile promise of homespun creative collaboration as unalienated labour and therapeutic communion, making an enchantingly idiosyncratic contribution to downtempo sample music along the way. Thanks for listening.

Milky Chance are preparing to release their first official live album, "Live From Vienna (FM4 Session)". The recording captures the magic of Milky Chance's captivating performance with the ORF Vienna Radio Symphony Orchestra. This special release features fan favorites across all of their catalog including "Flashed Junk Mind," "Don't Let Me Down", a stunning rendition of "Tainted Love," all reimagined with breathtaking orchestral arrangements. Most recently, their global smash "Living In A Haze'" reached over 100 million streams and 1.2 Billion Tiktok views. Along with hits "Colorado" and "Synchronize", "Living In A Haze'" featured on their fourth studio album of the same name which was released in June 2023 on their own Muggelig Records. Delivering over 600 million streams, achieved Gold certification in Germany and Canada and debuted on charts across the globe including the US, Canada, Germany, Austria, Switzerland and France. In 2024, the band achieved the highest streams ever for some of their biggest hits including 'Stolen Dance', 'Flashed Junk Mind' and 'Down By The River' of which all songs have been reimagined on this special live release. Pre-order "Live From Vienna (FM4 Session) now and get 'Flashed Junk Mind', 'Living In A Haze', 'Cocoon' and 'Fado' instantly and experience Milky Chance like never before. Milky Chance: "After ten years of our band's journey, it was exciting to give our music a new form and let the songs shine anew. Instead of merely accompanying our tracks with an orchestra, we aimed to create a cohesive band experience. Through the new arrangements, we have built a bridge between modern electronic music and the classical orchestral world. It has exceeded our expectations, and we are very happy to have had this opportunity."

15 years after it's original release, Freestyle Records serve up reissue for The Apples' Kings LP - fully remastered with a fresh new cut, it's sounding better than ever!

In a musical first for the band, they wrote, arranged and recorded Kings with specific collaborators in mind. They held sessions with two of their heroes; a congregation with two musical and spiritual father figures from opposite ends of The Apples rich spectrum: Fred Wesley (pioneer of funk trombone in particular and funk horn arranging in general with James Brown, The JBs) Shlomo Bar (vocalist, percussionist, godfather of Israeli world music).

The exciting process of these recordings exposed the band's many roots and influences; elements of The JB's funky foundations, cut 'n paste, soul, middle eastern and dub are all clearly displayed - strained through the band's unique decks-horns-sfx-bass-drums lineup. This release signified the next step in The Apples ever thickening groove stew, primed for festival and club stages with a relentless live set filled with runaway grooves, countless twists and turns, dizzying transitions, spontaneous arrangements, the occasional reworking of early 90's alt-rock fist shakers - plus the basic jump-up-and-down crazyness for which The Apples are known across dancefloors, soundsystems, playlists, films, televisions, cars and ears worldwide.



e B1 | Batash (Alwoojdi) feat Shlomo Bar

Freivogel / Sinclaire with their debut Untitled consisting of three live recordings made using only a concert flute and an Octatrack M1. The recordings are live taken from improvised sessions and have been left unedited.

Shifting between playful and austere, the simple goal for these sessions was honest improvisation; comfortable in both its limits and potentials. Placing classical instrument performance and extended playing techniques alongside heavy sonic processing and cavernous acoustics, they are in some ways uninfluenced by genre, governed only by a drive to find moments of clarity amidst chaos.

Recorded in single takes using a simplified setup of the flute – played into a microphone and wired through an Octatrack – every sound heard in the recordings comes in one way or another from the flute as a single sound source, manipulated and looped on the fly with additional live improvisation over the top.

The result is a timeless capsule of heady drones, offbeat electronics, and mischievous flutes, captured during a time when the world stood still. Scuzzy at times, glistening at others, and ever-optimistic in the pursuit of something new.

Adam Sinclaire is a flautist who has worked with artists such as Billy Bultheel and Ziúr, recorded for labels including PAN and Purple Tape Pedigree, and performed for institutions including KW Institute for Contemporary Art, Schinkel Pavillon, and Martin-Gropius-Bau. His practice focuses on using extended playing techniques to explore the limits of the C flute.

Marco Freivogel is a producer and composer who has released an extensive discography on labels including Mannequin Records and Veyl, and collaborated with artists including dBridge, Mare Nero and Mathew Jonson, remixing artists as diverse as Hercules & Love Affair, Shackleton and Yappa. His Prequel Tapes project sits between utopian and claustrophobic, tracing harsh industrial atmospheres and levitational ambient from a lifelong obsession with sonic extremes. Marco currently works on compositions for film and television, alongside his own releases and collaborations. The EP will be released on 14 February 2025 as limited vinyl and digital via Midnight Shift. Art direction by Mauro Ventura.

All record profits from this release will go to 3ezwa.de, providing financial and legal support to those facing repression for their commitment to the Palestinian cause.

With a much-loved signature sound heavily influenced by many active years in the trance scene, Fernie’s blend of emotive pads and cosmic soundscapes has secured him a discography that spans some of deep techno’s most revered labels. Having releases on the likes of Monument, Khoros, KVLTÖ and Informa Records to name just a few, as well as heading up his own imprint Space Textures, curating the Monument podcast, and co-running the Orbits parties with fellow Glaswegians Deepbass and Repart - Fernie’s passion for the deep techno community resides in the energy he consistently commits to our scene.

The third release in our catalogue comes as a limited edition 140g transparent vinyl with black smoke, pressed in Italy and presented in a matte sleeve with full colour artwork. Celestial is a carefully woven journey that searches and probes, be it the outer reaches of space or the inner depths of oneself. Perfectly blending the themes of space exploration and astrology, the EP opens with a brooding wash of atmospheres and voice samples, before broken rhythms, lush pads and moody ethereal tones carry the voyage through the A Side. The B Side sees the record open up into two tracks perfect for deep immersion on the dance floor, with Unbound offering an atmospheric cruise fit for early morning bliss. And finally, we are humbled to have a remix from deep techno stalwart Ness closing out the EP - a ritualistic stomper that reworks the original atmospheres of Critical Functions into an uptempo dub techno infused gem.