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CHIME OBLIVION began out of the blue. David Barbarossa reached out to John Dwyer saying he was a fan of OSEES and he was invited to a show in London. The two hung out and hit it off, "then I rabbit holed on Bow wow wow too…," Dwyer recalls. "I reached out to David and suggested that we try and write some songs together... I flew David out, we met at my studio and spent five days writing basin drums ideas." The two got to know each other and had a lot of laughs. Dwyer then brought in Weasel Walter, knowing that he would be perfect "to add all that legitimate old-school weird proto-punk no wave guitar scratch to it, which of course he did masterfully." Next came Tom Dolas to play fuzzy marimba, and the fabulous H.L. Nelly, "as I knew her from a record I’d put out back in the day for a band called Naked Lights from Oakland. I knew that she could pull off the vocal style I had in mind." Together, the group created their debut self-titled album, due for release via Deathgod on April 18th. CHIME OBLIVION will be released as a 45 rpm 12" vinyl, CD & on digital. They're sharing the first taste of the album today, in the form of lead single, "NEIGHBORHOOD DOG." "For fans of Adam & the Ants, Bow Wow Wow, Crass, The Slits, and any other wierdo punk we fell in love with as youths." CHIME OBLIVION is due for release on April 18th via Deathgod.

CHIME OBLIVION began out of the blue. David Barbarossa reached out to John Dwyer saying he was a fan of OSEES and he was invited to a show in London. The two hung out and hit it off, "then I rabbit holed on Bow wow wow too…," Dwyer recalls. "I reached out to David and suggested that we try and write some songs together... I flew David out, we met at my studio and spent five days writing basin drums ideas." The two got to know each other and had a lot of laughs. Dwyer then brought in Weasel Walter, knowing that he would be perfect "to add all that legitimate old-school weird proto-punk no wave guitar scratch to it, which of course he did masterfully." Next came Tom Dolas to play fuzzy marimba, and the fabulous H.L. Nelly, "as I knew her from a record I’d put out back in the day for a band called Naked Lights from Oakland. I knew that she could pull off the vocal style I had in mind." Together, the group created their debut self-titled album, due for release via Deathgod on April 18th. CHIME OBLIVION will be released as a 45 rpm 12" vinyl, CD & on digital. They're sharing the first taste of the album today, in the form of lead single, "NEIGHBORHOOD DOG." "For fans of Adam & the Ants, Bow Wow Wow, Crass, The Slits, and any other wierdo punk we fell in love with as youths." CHIME OBLIVION is due for release on April 18th via Deathgod.

During the pandemic, The Ophelias transformed uncertainty into Spring Grove, their fourth album and most dynamic offering yet. Named after a Cincinnati cemetery, the album blends nostalgia with fresh perspective, reflecting on themes of relationships, identity, and power dynamics. Singer-songwriter Spencer Peppet draws from her OCD diagnosis during the pandemic and the clarity that comes with growing older, resulting in lyrics that explore the cracks and complexities of human connection.

Produced by Julien Baker, who adds lush textures and harmonies, Spring Grove marks a turning point in the band’s evolution. Recorded at Young Avenue Sound in Memphis, the album centers on the core quartet—Peppet, violinist Andrea Gutmann Fuentes, bassist Jo Shaffer, and drummer Mic Adams—with arrangements that balance cinematic intensity and delicacy. Gutmann Fuentes’s violin provides striking countermelodies, while Shaffer’s bass lines, inspired by doom metal, explore melodic depth. Adams’s drumming reflects his first project after transitioning, offering nuanced rhythms that blend power and tenderness.

With one queer and two trans members, the band has moved beyond the reductive label of an “all-girl” group, delving deeply into themes of womanhood and identity. Tracks like “Salome” and “Parade” examine power dynamics and friendship, while nature imagery in songs like “Cumulonimbus” and “Vulture Tree” mirrors lived experience. Across 13 tracks, the album’s cinematic and introspective journey scavenges the past for meaning, ultimately embracing transformation. On the closing track, “Shapes,” Peppet reaches serene acceptance, singing, “I see what’s coming after... a reflection in the water. I am rippling forever.”

Spring Grove captures the band’s evolution, offering a transcendent meditation on self-awareness, identity, and growth, leaving listeners with a sense of profound discovery.

This is a recorded document performed by Mark Holub, Johanna Pärli and Sofía Salvo.

As a trio, they had not met until sound-checking for their gig at Berlin’s Cashmere Radio on September 1, 2023 — a fact that may be concealed by their immediate understanding as a musical entity but is obvious by their artistic freedom and curiosity towards each hoc encounters, flexible and steadfast in its performance, and that culminated in an experience that shook the floor of the radio station’s headquarters.

The day after, Sofía, Johanna and Mark gathered in Adam Asnan’s studio and deepened their quest for a communal language. They ignored any musical fetters or conventions, enjoyed the possibilities of a wider time frame without a live audience — and exceeded all hopes of what three personalities can achieve when they are given the space and time to experiment, detached from any restrictions.

Mark Holub is a drummer of outstanding versatility and responsiveness, full of ideas and quick on his feet. Through his playing as well as his experience as a band-leader and composer he is able to steer this coequal group towards thundering crescendo, but sits equally comfortable in the centre of complex and fine rhythm probing in response to impulses thrown in by his companions.

Johanna Pärli makes use of her double bass’s entire body, extracting an armada of multi- layered sounds with an immensely high sonic spectrum that is also reflected in the diversity of her musical projects. She is both patient and wildly adventurous in her performance, and in this trio her contribution wanders from considerate bow work to brisk fingerpicking, gnarly string strikes and pedal use to startling effects.

Sofía Salvo unleashes the full unbounded potential of her voice by taking advantage of her baritone saxophone’s broad range of possibilities. She is one of Berlin’s most singular musicians and her widely proven capabilities cover gentle additions to support and underline pulsive interplay just as masterfully as rapid licks and roaring bursts of noise, spurring the collective to unpredictable intensity.

If music of this particular kind often gives the impression of a constant search, this international trio certainly managed to find common ground and capture a special moment in time for listeners to (re-)discover. Contrary to what frequent misconception sometimes suggests, it’s also tremendous fun.

NERR — Filling Open Spaces was instantly composed and performed live in studio by Mark Holub on drums, Johanna Pärli on double bass and Sofía Salvo on baritone saxophone, recorded in Berlin on September 2, 2023 and mixed by Adam Asnan. Mastered and cut by Rashad Becker, vinyl pressed at Pallas. Artwork and design by Stefan Lingg, produced by Christoph Berg and Stefan Lingg.

Das fünfte Album der Newcastler Riffzauberer Pigs Pigs Pigs Pigs Pigs Pigs Pigs (aka PIGSx7) ist geprägt von kalkulierter Aggression und selbstzerfrleichenden Texten. Zu den verblüffenden Boni gehören verspielte Synthesizer-Arbeiten und der Auftritt eines Hip-Hop-Masters. Mit seinem Titel, der Absurdität und Ernsthaftigkeit einander gegenüberstellt, ist dies Death Hilarious. Während Land Of Sleeper von 2023 als immersives Kopfhörer-Erlebnis konzipiert war, strebten Pigs dieses Mal nach etwas direkterem, böseren. ,Wir wollten, dass es ein Schlag ins Gesicht ist", grinst Produzent und Gitarrist Sam Grant. Dieses Ziel kam zum Teil dadurch zustande, dass die Band in den letzten Jahren sooooo viele Gigs gespielt hat. Die Band fühlte sich gut geölt und reif dafür, den Zuhörern zu Hause die Art von Prügel zu verpassen, die ihr Publikum von der Bühne aus erhält. Death Hilarious bietet einige Überraschungen, vor allem der Track 'Glib Tongued', bei dem El-P von Run The Jewels als Gastmusiker mitwirkt. Als Bassist John-Michael Hedley unwissentlich das schrieb, was seine Bandkollegen als ihr Äquivalent zu einer Hip-Hop-Nummer betrachteten, setzten die Pigs ihre Ziele hoch an und sicherten sich einen fulminanten Beitrag von einem der größten Rapper der Welt. Das soll nicht heißen, dass Pigs zum Nu-Metal übergegangen sind. Death Hilarious ist eine abwechslungsreiches, straffes Album, das sich zwischen sabbathianischem Doom, grotesk minimalistischem Noise Rock und zyklischen Post-Metal-Fortissimos bewegt. Auch die Pigs treiben sich selbst weiter an. Unpassende Synthesizer-Soli tauchen dort auf, wo normalerweise Gitarren-Histrionik Platz hätte. Klaviertracks lauern im Mix und verleihen dem Klangstrudeln eine fast unterschwellige Tiefe. Stitches" ist wie Motörhead, die versuchen, Glamrock mit einem beschwipsten Keyboarder zu spielen. Und dann ist da noch das 100-Meilen-Tempo des Cosmic-Thrash-Openers ,Blockage". Verzerrte Licks fliegen aus den Verstärkern von Grant und Lead-Gitarrist Adam Ian Sykes, während die Rhythmusgruppe dahinter brutzelt. Mit all dieser Power, die durch die Adern fließt, wird Death Hilarious mit Leichtigkeit eines der besten Rockalben des Jahres 2025 sein... und das ist kein Witz!

After the success of Trenchtown Rock, Small Axe, and All in One, here comes the final chapter of this quadriptych dedicated to Bob Marley’s musical legacy. Side A opens with “Treat You Right,” a vibrant declaration carried by mesmerizing rhythms, while “Don’t Rock My Boat” radiates a serene, sunny vibe. On Side B, “Chances Are” shines with its melodic tenderness, leading into the energetic “Bend Down Low,” a pure call to dance. An essential album, blending incandescent grooves with universal messages, crafted by an eternal legend.

The internationally renowned double bassist and composer Dieter Ilg
releases his new work, 'Motherland'
As the album cover - featuring Ilg wearing a traditional Black Forest Bollenhut -
suggests, this project reflects his deep connection to his homeland and to Mother
Earth. Ilg is supported by his trio, as well as the master trumpeter Till Bronner, whose
trumpet and flugelhorn lend the compositions a unique atmosphere.
Having collaborated with numerous musicians such as Randy Brecker, Mike Stern,
Vince Mendoza, and many others, Dieter Ilg has released 25 albums as a leader or coleader, along with a series of recordings as a sideman. On 'Motherland', he reunites
with his long- standing trio, featuring German pianist Rainer Bohm and French
drummer Patrice Heral. This time, alongside their original works, they reinterpret two
classical pieces: Ilg's adaptation of Handel's "Minuet" from Water Music and his
rendition of "Glorious" from Alexander's Feast. For 16 years, Ilg, Bohm, and Heral have
journeyed together musically. The secret to their chemistry, according to Ilg, lies in
their openness to letting things unfold in the moment.
'Motherland' is both an homage to Ilg's roots and a reflection of the music and
experiences that have shaped the bassist, who hails from Offenburg in Germany's
Black Forest region. A standout track is "Schwarzwaldfahrt", in which Ilg transforms
the lighthearted melody of German pianist Horst Jankowski into a nostalgic
interpretation with an authentic second- line groove. Till Bronner delivers a stunning
trumpet solo on this piece, with Ilg commenting, "When Till plays, I know exactly
where we're headed. I can hear the path he's focusing on."
The album unfolds with remarkable diversity, ranging from harmonious, soothing
sounds to tender, fragile bass solos, rubato piano passages, and intricate stop-time
sequences. 'Motherland' is a work of profound depth, celebrating Ilg's heritage while
offering listeners an evocative and multifaceted musical journey.

For Nottingham quartet Divorce, home is a feeling. Initially meeting as teenagers through the city’s close-knit DIY scene, the band – completed by members Tiger Cohen-Towell (vocals / bass), Felix Mackenzie-Barrow (vocals / guitar), Adam Peter Smith (guitar / synth) and Kasper Sandstrøm (drums) - came together as Divorce in mid-2021, releasing a slew of genre-defiant singles that quickly caught the attention of tastemakers the world over. Sonically rich and lyrically open-hearted, 'Drive to Goldenhammer' sees Divorce assemble a shelter for themselves amid the chaos and leave the front door open to everyone. This album pays homage to seeking place and home; one of the great human levellers. Much of life feels at odds with this particular need. And to Goldenhammer; you are a reason to keep driving. We will find you again and again! Gatefold vinyl includes 12” lyric booklet including photos, thank yous and lyrics

Mike Montgomery’s lifelong fascination with music began as a solitary endeavor. After secretly mining his dad’s record collection of golden 60s and 70s icons and tumbling headlong into 80s skateboard culture and its thrilling soundtrack, Mike learned guitar and started amassing songs on his Tascam Porta-Studio, chronicling hushed bedroom melodies with each new chord he discovered. Soon, he founded thistle, a wonderfully self-sufficient power trio that served as a rich opportunity to tinker with every stage of the music-making process. Through four LPs and two EPs between 1992-2013 and countless thistle shows criss-crossing North America, Mike discovered how to book a tour, repair equipment, run live sound, manage a label, build a studio, and foster a community of collaborators.

Inspired by R.Ring’s looseness and a growing confidence in spartan songwriting, Montgomery’s latest project - under the Nervous Verbs moniker - further peels back the layers of production and fussiness that might accompany access to a fully appointed studio. Instead of ensconcing himself in Candyland with limitless options, Montgomery treated his latest batch of songs as field recordings, often using phone memos to document melodies and entire performances at their inception, where and whenever they might materialize. He realized “there was something about the idea of noticing I had captured something of myself that I couldn’t recreate on subsequent attempts.” As he collected these home sketches, he shared them with friends (including Kelley Deal, Lori Goldston, Devin Ocampo, Joe Suer, Kate Wakefield, Rick McCarty, Adam Nurre, Matt Hart, Dan Dorff Jr., and Alexis Marsh) who responded with supportive contributions, fostering the initial sparks. “All of the extra tracks people sent me that I dressed the songs up with showed me that these were sturdy enough to hold those layers.”

South African Modern Soul/Jazz-Funk - Originally released in 1979, Cape Town – Re-mastered by Simbad

First time re-issued on vinyl, “Expressions” is the 3rd album from one of the greatest South African bands ever, I named Pacific Express. Now think Stevie Wonder and Weather Report, then take a serious established local band, and you have here a “Cape Town version” with their own talents. Between Modern soul and Jazz-Funk, no doubts, this record is a gem!!! Fred Spider*

“This name evokes awe and admiration in equal measure among musicians across the country. They became a crucible where budding local musicians built their reputations before going on to become recording artists, band leaders, and musical legends (like Jonathan Butler did on Expressions*).
The greatest Pacific Express legacy, apart from the memorable music they made and recorded, was their role in helping establish the distinctive sounds of South African music generally and Cape Town jazz in particular. When Producer Tully McCully wanted straight, solid drumming for the Expressions album, Momple delivered the groove, swing, and drive for a funky album.” Michael Britton

Artwork by Fred Spider – Graphist designer by Graeme Arendse
Vocals, Guitar: Jonathan Butler, Bass: Paul Abrahams
Drums, Percussion: Jack Momple, Vocals, Percussion: Zayn Adams, Keyboards, Trumpet, Arranged By String: Tony Cedras, Guest, Saxophone: Barney Rachabaney, Guest, Trumpet: Stompie Manana,
Executive-Producer: Paddy Lee Thorp, Producer: Tully McCully

im Gatefold mit Prägecover, 8-seitigem Booklet
Kurz vor der Jahrhundertwende legten spontane Jam-Sessions zwischen Freunden den Grundstein für eine außergewöhnliche 25-jährige Karriere. Killswitch Engage aus Western Massachusetts - Adam Dutkiewicz (Gitarre), Joel Stroetzel (Gitarre), Mike D'Antonio (Bass), Justin Foley (Schlagzeug) und Jesse Leach (Gesang) - zeichneten sich durch ihre technische Präzision und zugleich unbändige Energie auf der Bühne aus. Sie vereinten kraftvolle Riffs mit mitreißenden Songs und sprachen Headbanger, Hardcore-Fans und gebrochene Herzen gleichermaßen an. 2002 löste ihr Album Alive Or Just Breathing eine kulturelle Welle aus und wurde zu einem der "Top 100 Greatest Metal Albums of All Time" gekürt. Mit über 3 Milliarden Streams, Gold- und Platin-Auszeichnungen für The End of Heartache und As Daylight Dies sowie drei GRAMMY®-Nominierungen gehören sie zu den bedeutendsten Metal-Bands. 2019 erreichte Atonement neue Höchstwerte mit Lob von Forbes, Revolver und NME, das es als "eines der spannendsten Alben von Killswitch Engage" bezeichnete. Sie füllten Hallen und teilten Bühnen mit Iron Maiden, Slipknot und My Chemical Romance. Mit ihrem neunten Album This Consequence perfektionieren sie ihre Markenzeichen und liefern ein brutales, aber zugleich strahlendes Werk ab.

corrupt blood infusion - crimson red marbled Vinyl

Kurz vor der Jahrhundertwende legten spontane Jam-Sessions zwischen Freunden den Grundstein für eine außergewöhnliche 25-jährige Karriere. Killswitch Engage aus Western Massachusetts - Adam Dutkiewicz (Gitarre), Joel Stroetzel (Gitarre), Mike D'Antonio (Bass), Justin Foley (Schlagzeug) und Jesse Leach (Gesang) - zeichneten sich durch ihre technische Präzision und zugleich unbändige Energie auf der Bühne aus. Sie vereinten kraftvolle Riffs mit mitreißenden Songs und sprachen Headbanger, Hardcore-Fans und gebrochene Herzen gleichermaßen an. 2002 löste ihr Album Alive Or Just Breathing eine kulturelle Welle aus und wurde zu einem der "Top 100 Greatest Metal Albums of All Time" gekürt. Mit über 3 Milliarden Streams, Gold- und Platin-Auszeichnungen für The End of Heartache und As Daylight Dies sowie drei GRAMMY®-Nominierungen gehören sie zu den bedeutendsten Metal-Bands. 2019 erreichte Atonement neue Höchstwerte mit Lob von Forbes, Revolver und NME, das es als "eines der spannendsten Alben von Killswitch Engage" bezeichnete. Sie füllten Hallen und teilten Bühnen mit Iron Maiden, Slipknot und My Chemical Romance. Mit ihrem neunten Album This Consequence perfektionieren sie ihre Markenzeichen und liefern ein brutales, aber zugleich strahlendes Werk ab.

‘4th DIMENSION’ is the last and probably greatest album ever recorded by Italian piano Maestro Mario Rusca. This monumental music produc"on features tracks in Nonet, Quintet and Trio. Along with the faithful rhythm sec"on composed by Riccardo Fioravan" on bass and Maxx Furian on drums, on this slamming cinema"c jazz album Mario Rusca teamed up with two extraordinary wind players: legendary Flavio Boltro (of Michel Petrucciani Quintet fame) on trumpet and Gabriele Comeglio on sax alto.

As far as the choruses are concerned, Nicole4a Tiberini, Mar"na Rossi and Alice Macchi, from Maestro Rusca’s ensemble music courses at the Civica di Jazz School, provide inspired and swinging backing vocals. The cherry on the cake, the element that gives to ‘4th DIMENSION’ a pulsa"ng and swinging’ drive, is the par"cipa"on on the album of Marco Fadda, one of Italy’s leading percussion players.

This heterogeneous ensemble has shaped, during 5 days of intense studio recordings, an absolute masterpiece full of swinging rhythms along with a few magical in"mate moments. In his 65 years career, Italian piano legend Mario Rusca has shared the stage and recording studios with luminaries such as Chet Baker, Cur"s Fuller, Gerry Mulligan, Lou Donaldson, Art Farmer, Lee Konitz, Dusko Gojkovic, Enrico Rava, Tullio De Piscopo, Kenny Clarke, Stan Getz, Toots Thielemans, Gianni Basso, Pepper Adams, Steve Lacy and Tony Sco4 (with whom he formed an indissoluble partnership).

Being accompanied in this album by extraordinary musicians, Rusca chooses to flow in a repertoire that, like in his most recent records for Mono Jazz, bridges between original pieces and revisited standards from the American Jazz Songbook, approached with unprecedented sensi"vity and depth.

The journey of ‘4th DIMENSION’ is an extraordinary cinema"c musical voyage across various styles ranging from Bop, Hard Bop, Cool, Funk and La"n Jazz. ‘4th DIMENSION’ is a perfect follow up to the interna"onally acclaimed Easy Tempo legacy! In these 13 tracks, “il Maestro” embraces and enhances a ‘cinema"c’ component in his music - an a4ribute he has long cul"vated through original soundtracks and library albums recorded for diverse cult Italian labels.

This, as we were saying, is achieved through the addi"on of percussionist Marco Fadda, who introduces a series of rhythmic nuances across several tracks, and of the extraordinary female vocal trio reminiscent of I Cantori Moderni of Alessandro Alessandroni & Edda Dell'Orso, used in the tradi"on of Italian composers of ‘60s and ‘70s film music.

This natural progression reflects Italy's history, where jazz musicians have long been involved in soundtracks and film scoring since the late ‘50s. Italian jazz has integrated this approach into its composi"on and arranging styles, as demonstrated in the first 10 volumes of the Easy Tempo series. A spirit and tradi"on that Rusca's ‘4th DIMENSION’ record con"nues. Listening to some of the tracks on the record evokes the legendary works created for cinema by Piero Umiliani, Piero Piccioni, Lelio Lu4azzi, Armando Trovajoli, Gianni Ferrio and others.

Do Your Own Dance! VARIOUS ARTISTS
Chic’s Nile Rogers is lauded as an international star and the recently departed Patrick Adams is acknowledged as one of the most important pioneers of disco music, but behind them were an army of lesser-known musicians, producers, and arrangers including one of the founding-fathers of New York Dance, the enigma Lonnie Johnson.
Scorpgemi Records and Lonnie Johnson, the man behind the label, will be unknown to most, but he was an important figure at the birth of dance music. His label featured work by several leading voices of the New York scene and provided one of New York’s most instantly recognisable dance music records— “Keep In Touch (Body To Body)”—one of the greatest club cuts ever.. But Johnson himself leaves hardly a trace, a behind-the-scenes person, and a friend of Patrick Adams who is only known to those who study the small print on record labels.
So, Lonnie Joel Johnson proves to be both highly influential, and almost completely elusive. A backroom person, who created an anthem across the Atlantic from his home base in New York. A man who was instrumental in the development of Patrick Adams’ career from producer of vocal groups to the go-to producer for dancefloor gold. Yet, for all this there are no biographical details, no interviews and almost nothing left behind except for a small but fantastic catalogue of music.
The first ever curated works of the Broadway based Scorpgemi label Produced by Lonnie Johnson, one of the founding-fathers of New York Dance Dancefloor Gold from the enigma that is Lonnie Joel Johnson, the man behind the career of the legendary Patrick Adams.

As soon as Martin Circus was born in 1969, the band laid foundations for the French "Pop Musique" genre, deliberately turning its back on both French yéyés and rock'n'roll to better embrace psychedelia and the French language. In 1971, they were a pioneering, innovative group moving as fast as a speeding train, building upon everything they found on the way. However, faced with band members changing often, management issues and music evolution, Martin Circus ended up trying to fit in every style: soul, R&B, glam rock, disco, new wave, 80s mainstream music. To follow their journey is to listen to the world shifting along music charts. Behind the scenes, since the very first days of the band, one man had been pulling all the strings. Manager and artistic director Gérard Hugé used to work for both the band and the label - this has never been good news. What he cared about the most was getting records out, no matter who played on them. In the mid-70s, he registered the Martin Circus name, granting himself full power over the band. Deciding that it no longer had either a lyricist or a composer, he made the remaining musicians embark on a series of American 60s hits adaptations. As a result, they made tons of money : "Marylène" was a huge hit and gave them a new impulse. The Martins adopted a new look by wearing shiny Courrèges-style suits and platform boots, and on stage they performed dance moves choreographed by the eccentric Amadeo. They completely fit into the disco craze which was about to take over. Still, their music blended doo-wop and rockabilly with glam rock and funk music. They eventually hit disco with a soundtrack in the mannerof French disco groups such as Space and Voyage. Effortlessly, they released the epic 14- minute "Disco Circus", a track which was to become a real underground gem. DJ and remixer François Kevorkian then released it on the American Prelude label in a self-edited version, shortened to 7 minutes while retaining all the dazzling passages of the original track. It came to be a hit in the clubs of New York and Chicago, making a lasting impression on everyone who heard it. It got sampled on at least 40 tracks over the following decades and featured in dozens of bootlegs and prestigious compilations - by Laurent Garnier, Carl Craig, Juan Atkins, Joey Negro, The Beatnuts, The Rapture, and by Danny Krivit in the DJ culture film Maestro. As the 80s arrived, Martin Circus once again changed the way they looked and their style. Inspired by Devo and their cold dance music, by Buggles' synthpop and Plastic Bertand's postpunk. Throughout their career full of ups and downs, Martin Circus nonetheless managed to keep up with one stable element: contrary to what they seemed, the musicians never took the easy way out. Their playing and arrangements were consistently flawless and polished, they relentlessly dedicated themselves to playing quality music and this can only compel admiration. As Coco Chanel once said, "Fashion goes out of fashion, style never does."

Free jazz poetry by a spry, 85 year old Joe McPhee, adapting his renowned improvised practice to words - juxtaposed with Mats Gustafson’s sparing brass and electric gestures. It’s an utterly timeless and transfixing salvo, another shiny notch for Smalltown Supersound’s Le Jazz Non Series.

As a common ligature to the OG free jazz scene of ‘60s NYC, with formative binds to its European offshoots and the experimental avant garde, Joe McPhee is a true force of nature who has represented jazz at its freest over a remarkable lifetime. In duo with Swedish free jazz and noise standard bearer Mats Gustafson, he upends expectations with an astonishingly vivid and upfront example of his enduring contribution to freely improvised music. In 11 parts he variously reflects on everything from the neon sleaze and scuzz of NYC to contemporary US politicians and laugh out loud imitations of his previous sparring partners such as Peter Brötzmann, with a head-slapping immediacy that leaves you reeling, spellbound.

McPhee’s flow of rare, organic cadence, ranging from urgent to contemplative and dreamlike, is blessed with a unique turn-of-phrase that surely mirrors his decades of instrumental work. Gustafsson, meanwhile, dextrously takes up the mantle with a multi-instrumental spectrum of sounds, leaving McPhee unbound and able to float and sting on the mic. There’s obvious wisdom in his perceptively penetrative observations, as derived from a rich cultural life well spent, but also a playful naivety and levity in his ability to veer from almost melodic speech to explosive aggression and a knowing, bathetic wit. It’s perhaps hard to believe that McPhee only started incorporating and performing spoken word in his work in the past ten years, a half century since his declaration of “What Time Is It‽” announced his arrival on a legendary debut ‘Nation Time’ (1971), ushering in one of free jazz’s most singular characters in the process.

Oscillating between discordant reflections on life as a touring musician, set to Gustafsson’s skronk and culminating in a snort-worthy imitation of Peter Brötzmann’s gruff German accent, on ‘Short Pieces’ or the glowering growl and noise exhortations of ‘Guitar’, he evokes a more sweetly consonant calm in ‘When I Grow Up’ and eerie threat of ‘The Dreams Book’, and viscerality of ‘Disco Death’, where Gustafson’s tonal versatility comes into hugely mutable play, whilst McPhee’s extraordinary, unaffected voice is a constant. It’s perhaps McPhee’s balance of cool measuredness and wellspring of barbed energies that allows us, at least, to get the most out of this one; not stifling with mannered or manicured enunciation that can trigger certain icks; keeping close to the nature of spoken word in a way that avoids cliche and becomes inherently critical of it within his purposeful, non-hesitant clarity and unflinching approach.

Limited Edition White Vinyl

At the forefront of a rising wave of Brazilian artists captivating international audiences, Nyron Higor brings a quiet yet potent sense of wonder to his new self-titled album. Born in Maceió, Higor’s latest work is rooted in the traditions of Northeastern Brazilian music and golden-era MPB. Within the peaceful surroundings of his home, Higor weaves these roots together with global influences and contemporary production techniques, for a uniquely dreamlike vision of hope.

Following the success of his self-released debut Fio de Lâmina—an instrumental record of delicately balanced rhythmic and harmonic patterns, which earned support from tastemakers like Mr. Scruff, Gilles Peterson, and John Gomez—Higor’s new album is a move towards a more expansive, lyrical exploration of transcendence and triumph. As Higor explains, “This album is a test of resistance and a big event in my life as a young Black man from the Northeast and coming from a humble background, financially speaking, its context is political.”

Taking his demos and unfinished tracks to São Paulo, Higor worked alongside friends and collaborators from Brazil’s vibrant contemporary music scene—including fellow Maceioense artists Bruno Berle, Batata Boy, and New York-based Brazilian vocalist Alici Sol—assembling a rich musical landscape and a cutting edge development on the musical world from which he emerges.

For Higor, the process of recording and producing in close collaboration with Berle and Batata Boy allowed him to fully cultivate the emotive power of his compositions. Album opener "Ciranda" sets the tone with a slow frevo rhythm, as wistful trombone melodies and melancholic acoustic guitar harmonies create an atmosphere both intimate and grand. Lead single "São Só Palavras," featuring Alici Sol and Bruno Berle, captures both the lightness and depth of young love in an all too fleeting minute-and-a-half moment of soaring brilliance.

Building upon the instrumental sound of his debut, “Louro Cantador” with its playful organ, birdlike whistles and elegant acoustic guitar, emanates a kind of rare natural beauty, as each sound dances amidst the gentle pulse of Higor's bass—his main instrument.

Through ten carefully crafted tracks, Higor’s acuity for sound and silence draws listeners into a place that feels both deeply personal and universally resonant. “Above all, I value making music that brings me genuine satisfaction. I’m always looking for depth in the things I create.”

This album is a testament to the timeless themes that define Higor’s artistry, as well as his creative drive to overcome the obstacles he faces. Conveying his feelings of jubilance for his work, Higor notes, “This work is liberating, contemplative and victorious!” Each track invites the listener to experience the raw intimacy, the joy and longing, and the otherworldly ingenuity of Brazilian music, which seems to endlessly keep us coming back for more.

CREDITS

Ciranda (Nyron Higor)
Tico Lima: Trombone, Nyron Higor: Drums, Bass, Synthesizers, Electric Piano, Guitar, Molho de Jatobá, Ganzá, Caxixi, and Indigenous Whistle

Louro Cantador (Nyron Higor)
Nyron Higor: Drums, Bass, Keyboards, Guitar, Percussion, and Direct Sound

Demo Love (Nyron Higor)
Nyron Higor: Drums, Bass Synth, Keyboards, and Synthesizers

São Só Palavras feat. Alici, Bruno Berle (Nyron Higor, Batata Boy, Alici Sol, and Bruno Berle)
Alici Sol: Vocals, Bruno Berle: Vocals and Bass, Nyron Higor: Drums, Guitar, Keyboards, Synthesizers, and Whistles

Estou Pensando Em Você feat. Johanna (João Menezes, Rubens Adati)
Nyron Higor: Vocals, Johanna: Vocals. Bruno Berle: Vocals, Rubens Adati: Piano, Guitar, Programming, Stefan Costilhes: Bass, Batata Boy: Programming

Maravilhamento feat. Nathalia Grilo (Nyron Higor, Nathalia Grilo)
Nathalia Grilo: Vocals, Nyron Higor: Drums, Bass, Guitar, Keyboards, and Synthesizers

Som 24 (Nyron Higor)
Nyron Higor: Sampler, Keyboard, Bass Synth, Vocoder, and Steel Guitar

Pizzicato (Nyron Higor)
Nyron Higor: Double Bass and Keyboards

Eu Te Amo (João Menezes)
Nyron Higor: Vocals and Bass, João Menezes: Guitar, Batata Boy: Rhodes Piano, Bruno Berle: Xylophone

Me Vestir De Você feat. Johanna (Paulo Novaes and João Menezes)
Nyron Higor: Vocals, Johanna: Vocals, Bianca Godoi: Drums, Bruno Berle: Bass, Guitar, Percussion, and Rhodes Piano, Batata Boy: Rhodes Piano and Guitar

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Tracks 1, 2, 3, 4, 6, 7, and 8 were recorded by Nyron Higor in Maceió

Track 4: Bass and Synthesizers recorded by Ico dos Anjos. Vocals recorded by Batata Boy at Estúdio Rural

Track 5: Guitars, Bass, Programming, and Pianos recorded at Inhame Estúdio. Coproduced by Rubens Adati

Tracks 9 and 10 Recorded and Co produced by Ico dos Anjos

Mixed by Batata Boy, Ico dos Anjos, Bruno Berle, and Nyron Higor

Mastered by Batata Boy

Produced by Batata Boy, Bruno Berle, and Nyron Higor

Lacquer Cut by Caspar Sutton Jones @ Gearbox Records

Cover photo by Claudio Virginio

Vinyl centre label artwork by Tadáskía

Sleeve design by Alessandro Renaldin

180-gram 45 RPM double LP. Pressed at Quality Record Pressings. Tip-on old style gatefold double pocket jacket with textured stock by Stoughton Printing

Genesis' seventh studio album was released in February 1976 on Charisma Records and was the first to feature drummer Phil Collins as lead vocalist after the departure of Peter Gabriel. The album was a critical and commercial success in the U.K. and U.S., reaching No. 3 and No. 31 respectively. A Trick Of The Tail was a landmark album for the band, and it still stands today as one of their best with classics such as "Dance On A Volcano" and "Squonk."

In the wake of Peter Gabriel's departure from the band, the remaining members of Genesis were determined to forge ahead, showcasing their songwriting prowess and recording prowess in the absence of their iconic frontman. This period marked the genesis of A Trick of the Tail. In mid-1975, the band embarked on an intensive creative journey, crafting new compositions and diligently rehearsing them. Their quest for a new lead vocalist led them to sift through a staggering 400 audition tapes.

As the autumn leaves began to fall, Genesis found themselves at Trident Studios in October, accompanied by producer David Hentschel. Surprisingly, the recording sessions began with an air of uncertainty regarding who would take on the role of lead vocalist. However, fate intervened when Phil Collins was persuaded to step up and deliver a powerful rendition of "Squonk." The strength of his performance not only won over the band but also paved the way for him to assume lead vocals for the entirety of the album.

Genesis has always been synonymous with grandeur and innovation, both in their electrifying live performances and their trailblazing studio albums. From timeless classics such as Nursery Cryme, Foxtrot, Selling England By The Pound, to the epic concept album The Lamb Lies Down On Broadway, the band has consistently pushed the boundaries of musical creativity.

Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket with textured stock by Stoughton Printing.

Over the span of four remarkable decades, Genesis has left an indelible mark on the music industry, having sold a staggering 150 million albums worldwide. Their influence extends far and wide, inspiring artists ranging from the indie rock stylings of Elbow to the experimental sounds of The Flaming Lips, and even the soulful resonance of Jeff Buckley. A Trick of the Tail stands as a testament to their enduring legacy and their ability to adapt and thrive in the face of change.

Tempat Angker (haunted place) is a Halloween mixtape compiled by music researcher and artist Luigi Monteanni, aka Neurotica Exotica.

To celebrate a second year of fieldwork research in West Java and to bring together the longing for All Hallows’ Eve partying with the archipelago’s richness in local and historical horror folklore tropes, figures, characters and stories, Artetetra’s co-founder cuts up 120 minutes of soundtracks, sound effects and dialogues from the glorious and extensive Indonesian horror movies tradition counting more than 700 titles.

Hear it from speculative horror and sci-fi filmmaker Riar Rizaldi (whole essay in the tape’s leaflet):

“The popularity of cinematic media during the New Order era led to the unprecedented development of more rapid and large-scale production methods. ⁤⁤Genre films, particularly horror and fantasy, emerged as some of the most prolific outputs, with hundreds being produced annually. ⁤⁤The filmmaking process was accelerated, and post-production ᅳ especially sound design ᅳ was completed as swiftly as possible. ⁤⁤Notably, veteran composer and musician Gatot Sudarto, who had worked extensively on drama films in the 1970s, became a regular contributor to studios producing horror and fantasy films in the following decade ᅳ although composer Embie C. Noer was also active during this period, his focus was more on action “sword and sandals” films. ⁤⁤Gatot’s influence in the music departments of these films was significant, helping to create an authentic soundscape. ⁤He adapted many of the compositional techniques used in European horror films (mostly the usage of harpsichord) at the time, blending them with the bass synths characteristic of American horror, while incorporating local and regional instruments to tailor the sound to Indonesian audiences.”

By sampling excerpts from 43 movies spanning the ages from the early seventies to the two thousand and tens, mostly trying to portrait the sound influence of the vintage horror era made popular by the “queen of horror”, actress Suzzanna, Tempat Angker throws you into decades of experimentation in conjuring the sound of Indonesian terror. Unearthly screams, bombastic fights, bamboo music, eighties synthy extravaganza, ominous sound effects, sexy dangdut, evilish pitched vocals, gamelan, eerie laughters from beyond and even calls to prayer fill the air in the spooky month!

Nat King Cole was born Nathaniel Adams on the 17th March 1917 in Montgomery, Alabama, USA. His family held a key position in the local black community with his father being pastor of the local Baptist church.

His first professional break came touring with the Broadway show “shuffle along” which eventually found its way to Los Angeles. Where Nat ended up playing at the century club on Santa Monica boulevard. This was an in-place for musicians and Nat’s already developed and incredible piano playing became a great attraction eventually forming a trio with Oscar Moore on guitar and Wesley Price on bass. With Nat’s great voice and add libs the trio were a great success in 1939/40.

In 1943 Cole signed to the infant Capitol records and began his enormous string of hits for that label and eventual amazing career partnership with the great arranger and orchestra leader Nelson Riddle. This was at the time of popular music already pioneered by Bing Crosby and latterly Frank Sinatra and something Nat would become a master of, with his by now incredible, highly developed and unique voice which we all instantly recognise.

Right up until his untimely and tragic death on 15th February 1965, Nat made a string of successful records for capitol, a string of film appearances, and the first black presenter of his own tv show, which ran for many years and introduced a whole host of new and old artists to the television screens. As is so often with people so talented, Nat’s life was short but extremely successful. He was a well loved and admired person with his vibrant and kind personality with many great friends and colleagues and made an enormous contribution to the music industry, civil rights and the world in general.

As a singer and pianist, he was exceptionally talented, and his voice will live on in immortality. His ability to express and sing any song was quite extraordinary to say the least and these recordings are a fine example of that ability. A must have for all music lovers!

Wonder what happens when 4 friends occasionally link up and make a few cheeky house tunes in between talking about pizza, footy, and kick drums? Cheek Inc!
Wonder what music 4 people (Nic/Rafael from !!! and Preslav/Adam from PTA) who’ve released music on Warp, Good Looking Records, Freerange, Pittsburgh Tracks, and Dischord would write? Cheek Inc!
Wonder why? Cheek Inc! “Jacqueline” is the debut EP by Cheek Inc: a vocal house 12” with 3 mixes to make you feel like you’ve always known why you have to just keep going. The A side brings flavors of classic piano house, adding a huge sub bassline, soaring synth pads and leads. The B1 “303” mix strips things down with a hypnotic bass groove, rhodes chords that keeps the pace, and an insistent 303 line that runs in and out like you know who. The B2 “Still Life” mix takes it deep by cutting up the vocal, with a sliding, playful lead line, bouncy chords, and a drum groove that shuffles and swings while THAT string line never quite goes away. Cheek Inc!

Knox Chandler’s career has spanned for over four decades, including performing, recording, arranging and producing, with such acts as REM, Depeche Mode, Grace Jones, Marianne Faithful, Natalie Merchant, Tricky, The Creatures, Dave Gahan Paper Monsters and The Golden Palominos etc. His long stints as a member of The Psychedelic Furs, Siouxsie and the Banshees and Cyndi Lauper’s band; has given Knox the experience of a worldwide recording and touring musician. For the past ten years Knox was residing in Berlin Germany, deepening his exploration of sonic soundscapes (Sound Ribbons), and applying it to different genres and mediums.

Bobby Previte is a drummer, composer and bandleader whose work explores the nexus between notated and improvised music. One of the seminal figures of the 1980s New York ‘Downtown’ scene, Previte has received multiple awards for music composition including the 2015 Greenfield Prize for Music and a 2012 Guggenheim Fellowship. His original compositions have been recorded and released on Sony, Elektra, Rykodisc, New World, Cantaloupe and Rarenoise. Leading a plethora of diverse ensembles from the drums, he has collaborated with an array of leading lights in and beyond the music world, including master composer John Adams, pianist Terry Adams of NRBQ, pantheon filmmaker Robert Altman, fellow Doom Jazzer Jamie Saft (recording released by Subsound), country music star Jessi Colter, blues great Johnny Copeland, composer and visionary Lukas Foss, computer music pioneer Lejaren Hiller, seven-string guitar wizard Charlie Hunter, re-discovered genius Julius Eastman, Rock author and ambassador Lenny Kaye, Lounge Lizards leader John Lurie, jazz/noise shredder Sonny Sharrock, folk hero Victoria Williams, maestro Michael Tilson-Thomas, the legendary Tom Waits, and, most recently, rock icon Iggy Pop.

Knox Chandler’s career has spanned for over four decades, including performing, recording, arranging and producing, with such acts as REM, Depeche Mode, Grace Jones, Marianne Faithful, Natalie Merchant, Tricky, The Creatures, Dave Gahan Paper Monsters and The Golden Palominos etc. His long stints as a member of The Psychedelic Furs, Siouxsie and the Banshees and Cyndi Lauper’s band; has given Knox the experience of a worldwide recording and touring musician. For the past ten years Knox was residing in Berlin Germany, deepening his exploration of sonic soundscapes (Sound Ribbons), and applying it to different genres and mediums.

Bobby Previte is a drummer, composer and bandleader whose work explores the nexus between notated and improvised music. One of the seminal figures of the 1980s New York ‘Downtown’ scene, Previte has received multiple awards for music composition including the 2015 Greenfield Prize for Music and a 2012 Guggenheim Fellowship. His original compositions have been recorded and released on Sony, Elektra, Rykodisc, New World, Cantaloupe and Rarenoise. Leading a plethora of diverse ensembles from the drums, he has collaborated with an array of leading lights in and beyond the music world, including master composer John Adams, pianist Terry Adams of NRBQ, pantheon filmmaker Robert Altman, fellow Doom Jazzer Jamie Saft (recording released by Subsound), country music star Jessi Colter, blues great Johnny Copeland, composer and visionary Lukas Foss, computer music pioneer Lejaren Hiller, seven-string guitar wizard Charlie Hunter, re-discovered genius Julius Eastman, Rock author and ambassador Lenny Kaye, Lounge Lizards leader John Lurie, jazz/noise shredder Sonny Sharrock, folk hero Victoria Williams, maestro Michael Tilson-Thomas, the legendary Tom Waits, and, most recently, rock icon Iggy Pop.

Today, the Toronto-born-and-raised singer, songwriter, producer, and multi-instrumentalist Charlotte Day Wilson announces her highly-anticipated sophomore album Cyan Blue out May 3rd via Stone Woman Music / XL Recordings

Along with the announcement of her new album comes the release of first single, "I Don"t Love You", a stark and devastatingly beautiful confessional, highlighting Wilson"s immaculate production skills and chill inducing vocals laid atop smooth groove piano chords and soft drums. The track also arrives with a visual directed by Dani Aphrodite featuring layered low fi footage of the artist and producer performing at home, living every day life and having moments of solitude in her car, a theme that comes up throughout the album. Cyan Blue finds Wilson crafting a smoothly woven cyan tapestry of her eternal influences; thumping gospel piano, warm soul basslines, atmospheric electronics, and penetrating R&B melodies. Yet, it possesses a sense of vastness that rings in a new era for Wilson, one in which she"s embracing collaboration and newfound creative openness tinged with wistfulness and yearning and a reflection on youthful innocence. "I want to look through the unjaded eyes of my younger self again," Wilson explains of making Cyan Blue. "Before there wasn"t as much baggage, before so much life was lived. But I also wish that my younger self could see where I am now. It would be nice to be able to impart some of the wisdom and clarity that I have now onto her.

" Working with producers like Leon Thomas (SZA, Ariana Grande, Post Malone), and Jack Rochon (HE.R, Daniel Caesar), Cyan Blue demonstrates Wilson´s sonic expertise while also showcasing the next evolution of her time-bending songwriting. Through 13 hypnotizing tracks, she continues to use music as a vessel for unpacking relationships, which in turn allows her to meet and understand herself in life-spanning, panoramic focus.

But, on Cyan Blue, she challenged herself to kick her perfectionist tendencies. "Before, I was extremely intentional about creating music with a strong foundation, a bed of artistic integrity," Wilson reflects. "But that was a bit stifling, like, "Let me just make a great piece of art that will stand the test of time, no pressure." Now, I think I"m getting out of this frozen state of needing everything to be perfect. I"m more interested in capturing feelings in the moment as they happen and leaving them in that moment."

While this is only her second album, Wilson"s influence in music has made a major mainstream impact. Wilson broke out in 2016 with her critically acclaimed EP, CDW, followed by 2018"s Stone Woman and made her debut studio album an official coming out moment in 2021 with the critically acclaimed, self-released Alpha.

Over the past decade, she´s been sampled by Drake, John Mayer, and James Blake, while Patti Smith has recently praised and covered Wilson´s 2016 breakout single "Work." Additionally, she´s collaborated with artists like Kaytranada, BADBADNOTGOOD, and SG Lewis, demonstrating that there´s no sound Wilson can´t adapt to and sprinkle her cyan-colored magic over.

Giulio Campagnolo, born in 1986, is an accomplished Italian jazz pianist and Hammond organ specialist whose
musical journey spans over two decades. His passion for music ignited at the age of 8 when he began studying
piano, and by 14, he had already delved into jazz under the guidance of masters D. Memoli and M. Polga. At
20, Campagnolo further honed his skills at the prestigious Siena Jazz summer seminars, while simultaneously
intensifying his concert activities with various jazz, blues, and soul ensembles. In 2012, he made a pivotal
shift in his career, dedicating himself exclusively to the Hammond organ and perfecting his craft with A. Marsico. The following year marked the beginning of his teaching career at the "Filarmonica Bassanese" Association in Bassano del Grappa, where he continues to instruct piano, organ, and ensemble music.
Campagnolo's formal education culminated in 2020 when he graduated with honors from the Conservatory
"A. Pedrollo" in Vicenza under the tutelage of maestro P. Birro. Throughout his career, Campagnolo has made
significant contributions to the music world, recording about ten albums as a sideman and four as a co-leader.
His debut solo album, scheduled for release in autumn 2024, is eagerly anticipated. Campagnolo's talents
have allowed him to collaborate with a diverse array of acclaimed musicians in both the jazz and blues scenes,
including Y. Silberstein, W. Bernard, N. Hempton, E. Martin, S. Waterstown, and U. Porcaro, among others. His
musical prowess has taken him across Europe, performing at jazz and blues clubs and festivals in Italy, Spain,
Switzerland, France, Germany, and beyond, establishing him as a truly international artist. Currently, Campagnolo leads his own quintet, featuring Piero Bittolo-Bon, Michele Polga, Federico Pierantoni, and Adam Pache,
for which he composes and arranges the repertoire, showcasing his skills not only as a performer but also as
a bandleader and composer.

"Because it's the passion for music that drives the person behind the decks, a dj's debut is bound to exude authenticity. It's often themselves they're recounting in music, posing on the slip mats their DNA and what makes them who they are.

When you're just starting out, you're faced with a multitude of routes to take and styles to play. When you know just how devastating it can be to step out of line and empty the dance floor even faster than it filled up, it often takes a lot of audacity to break the unity of a funk evening with a punk track.

Over time, to evolve is to find oneself facing only two roads.

On the first one, to satisfy the greatest number of people and not lose the credit for his fees, the dj adapts to the trend. Whether he likes what he's playing or not, the road has become a freeway and, indeed, a very comfortable one. The audience already knows everything there is to hear and doesn't come to hear anything else. Thirty seconds, or even a minute of each track, is more than enough. Everything has to flow quickly. Everything is marked out and secured. Those who respect the regulations will (normally) make the journey without accident. Several times a week, several times a month, several times a year. Curiosity disappears altogether.

And then there's the other road. Where nothing is expected nor sometimes even ever heard. The road of an unquenchable passion for diggin' and the desire to always know more and more. A passion billed at the price of hours of research-finding spent in the discomfort and possible disappointment of never coming across anything exciting, as well as nights exploring platforms and multiplying clicks resulting in a good old headache. Until that moment of grace happens when, after thousands of fruitless shakes, the nugget stands alone in the sieve, without the slightest doubt as to its quality.

Coming from places never mentioned for their music, sometimes classics of their genre, they are also rarities miraculously saved from total disappearance, as much as current marvels, but threatened to never leave the immensity of the web. Even if the possibility of a text with substance is never excluded, they can tell long stories or be destined solely to make you dance till you're dehydrated. Scintillating with spirituality, some can also vaporize energy and replace it with a pure emotion capable of touching hearts in the bareness of simple percussions.

This road is marked by sincerity, singularity and surprises, but always in a communion between the dj and the audience, who embark on it together, with mutual confidence in the promise of hours of sharing and discovering. "

It’s abundantly clear from the first bars of their 5th studio album Through Other Reflection, that this is, and could only ever be, The Soundcarriers. From the enchanting vocal duets of folk-bidden Chanteuses Leonore Wheatley and Dorian Conway; to the precise bass lines of Paul Isherwood and the limber, jazz-cool, Hal Blaine-esque drums of his his co-songwriter Adam Cann; from the fairy-like flutes, 60s-garage guitars and organ sounds pilfered from the archives of exotica - listening to the Soundcarriers resembles a rediscovery of all the most prized, esoteric corners of the 1960s, all bundled up, warped and refracted through the quartet’s astutely modern cultural lens. Channelling Tropicalia, Middle Eastern psychedelic Jazz/Funk, The French Library sounds of Nino Nardini, and a whole host of lavish obscurites beside, Through Other Reflection delivers another sonic adventure from one of the most unique and distinctive voices of British Psychedelia. After an 8 year wait for their album 4 - 2022’s Wilds - it thankfully didn’t take so long for the follow-up this time round. In many ways, this feels like a companion to Wilds; recording again at their Nottingham warehouse studio, Through Other Reflection retains that same organic glow, all the passions and imperfections of a tightly clipped unit jamming out these living, breathing pop-art nuggets as if straight onto the acetate.”We wanted to keep an air of spontaneity with this album and not get too bogged with the recording process”, explains Cann, “It was more a case of getting the songs as tightly written and arranged as possible first so we could get them down quickly in the studio. It always takes longer than you think” Less packed with strident pop hooks as its predecessor however, the music of Through… has been given extra licence to breathe, stretch out, and wander more uncharted terrains. While gleaming psych-pop of tracks like ‘The City Was’, or ‘Already Over’ confidently carry on from where they left off, from the album’s 2nd track ‘Always’, the trip becomes a little less predictable. Starting out as a smoky Procol Harum-meets-French-Psych organ ballad, the music drifts, as if of its own accord into an eerie, garage trance that lingers, cycles, and hypnotises, growing ever stranger, reaching ever-further away from its point of conception. And almost every track on Through Other Reflections holds that outer-body moment, where the band fix themselves on a limber, lysergic groove, lose all grip on time and reality, and melt themselves away into a liquid state of blind euphoria. There are sequences on this record that feel more like rituals than songs, built upon a single hypnotic rhythm which, like the centre of a vortex, pulling everything under its beatific command. Take the finale to ‘What We Found’ for instance, sounding like a ghostly march across the psychedelic moors, or ‘Feel The Way’, where a single athletic drum-loop rises and rises, growing ever more urgent and suspenseful underneath its frantic harpsichords and rasping flutes. Full of such rich stylisms as these, The Soundcarriers showcase themselves as abstract storytellers par excellence by virtue of their textures and arrangements alone. Resembling Romantic composer Maurice Ravel, but if he had just a four-piece rock band at his disposal, Through Other Reflects is rich with detail; there’s shakers, rattles, clarinets, booming drums; there’s synthesiser swarms, chiming xylophones, vintage organs and experimental Cluster & Eno-esque ambiences. Within all this nuance the music flows like some undisclosed narrative swathed in a magnetic secrecy. “It almost comes across like a story in some ways”, says Cann of the album, “the music is quite sectional with elements of exotica and cinematic type layers, it's a good balance of grooves, tunes and weirdness”. No more is this “epic cinematic feel” heard more proudly than on short instrumental ‘Sonya’s Lament” - its innate, hauntological atmospheres befitting a Peter Strickland soundtrack, or the classics of Lex Baxter, the so-called ‘Founder of Exotica’ himself. On the other hand, providing a greasier undercurrent to all these bucolic sounds is a leaning towards a more “direct” lyricism referencing more “external concerns. Laying down the first tracks for the album in the wintry gloom of pre-lockdown 2020, and drawing inspiration from time spent in Berlin, Through Other Reflections returns to some of the post-apocalyptic futurism explored in 2014’s Entropicalia - a loose concept album inspired by J.G Ballard’s The Drowned World. “The songs explore a disillusionment with the way things are going particularly after 40 years of neoliberalism”, says Cann, “They follow that folk-song tradition of wanting to escape to an imagined time, but here it’s more urban than pastoral. The first couple of ideas I came up with when doing some music in Berlin and had some time to wander aimlessly. And think the atmosphere seeped in, particularly on The City Was and Already Over. He continues, “One aspect of the title, ‘Through Other Reflections’ is about synthesis and layers of influence. How things can be filtered through other things and change the perspective. This is something you get in cities as well.” Though, as with everything The Soundcarriers make, “It can mean anything. It also just sounds kind of cool.”

Limited Edition Pressing of 200 Copies on Neon Yellow Vinyl. 2022's "Land of Kali" album was the first under the Essential Logic moniker for over 40 years and was released alongside a career-spanning boxset "Logically Yours".

Now Essential Logic head honcho and former X-Ray Spex member Lora Logic has compiled an eclectic and ambitious remixed version of "Land of Kali" entitled "Rekalibrated" featuring reinterpretations from noted artists across a multitude of genres and styles including Grammy award winners, living legends and UK Singles Chart toppers. Lora's work with Essential Logic and X-Ray Spex while Punk in DNA and spirit has always pushed at boundaries. Rule-breaking from the start by bringing the sax into Punk while the jerky, irresistible post-Punk Funk of Essential Logic's "Beat Rhythm News" and Lora's solo album "Pedigree Charm" sit comfortably alongside more contemporary records with one ear on the cerebral and the other on the dancefloor. "Rekalibrated" highlights the many strands that intertwine to make Essential Logic and how they may be unfurled. The lead single will be "Alien Boys" remixed by Dave Audé. Dave is a Grammy Award winning remixer and producer, famed for having more number ones than any other producer on the Billboard Dance Club Songs chart. He is responsible for a staggering 132 No.1 remixes on this chart and has worked with artists as varied as U2, Beyonce, Yoko Ono, Faith No More and Madonna among many others. He won his Grammy for his remix of "Uptown Funk" by Mark Ronson and Bruno Mars. Youth, legendary bassist of Killing Joke and producer of The Verve, Pink Floyd and The Orb lends his vastly experienced ears to "Mother Earth" while there are further interpretations from Rave-pop legend Adamski, Scottish Kandy-poppers bis and New Order/Duran Duran collaborators Daybreakers who put their own stamp on the Poly Styrene-penned "Prayer For Peace". Lora has recently been in the spotlight thanks to the recent re-release of X-Ray Spex's lost second album "Conscious Consumer" which features her trademark saxophone lines alongside typically acerbic lyricism from the dear departed Poly Styrene.

The first pressing reaches the Official Record Store Chart No.1 position over Christmas 2023 and quickly sold out. Favourable reviews in Uncut, Mojo and Record Collector alongside a Vive le Rock cover feature helped raise public awareness as well as radio features on Woman's Hour and Craig Charles' 6 Music show. Fans who missed out on the first pressing patiently wait the arrival of a repress.

Over the course of her trailblazing career, Charli XCX has earned critical acclaim for her forward-thinking musical output and refreshing entrepreneurial spirit that has seen her carve her own lane on the global pop circuit. A singer, songwriter, video director, documentary maker, radio host and record label boss, Charli’s story is one of an artist continuing to succeed without compromise.

Now in 2020, Charli is already breaking boundaries - this year has seen her first BRIT nomination for British Female Solo Artist, marking a huge moment of validation from a mainstream audience that Charli has built on her own terms. In reaction to the global COVID-19 pandemic of 2020, Charli has proven herself to be one of the most adaptable artists working today; initially providing programs of Instagram live sessions that invited various guests to spark conversation, share insight, or simply entertain fans across the world who are currently practicing social distancing. Charli’s vision then expanded further, leading her to announce ‘how i’m feeling now’ - a new album to be written, recorded and released in 39 days, completely in self-isolation. The creative process was also to push her collaborative stream in a unique way; opening up the recording, writing, artwork, music videos and more to fans for feedback and contribution - she also further inspired her fans’ creativity, allowing them access to song stems to create remixes and greenscreen footage to be edited using their own imagination.

‘how i’m feeling now’ has given further spotlight to Charli’s status as one of the most adaptable, exciting pop artists working today, and through it’s uniquely collaborative approach, provided a shared space for those who listen to feel safe enough to express themselves however they wish at a time when they need it most.

NOTON is pleased to announce the release of Xerrox Vol. 5, the final installment of Alva Noto’s Xerrox series.

For anyone who has been following the series since its inception in 2007, the concept of Xerrox no longer requires introduction. Originally, it aimed to create copies of images—both visual and acoustic—that are more memorable than the originals. The exploration of the relationship between the original and the copy, along with the invention of the copier, not only inspired the series name but also informed its underlying concept. In 2024, this series comes to an end, marking the culmination of a journey that began with the first recording in 2005/2006. Over nearly two decades, the five albums in this series have accompanied the artist's evolving perspective and conceptual approach.

Initially characterized by rawness and a conceptual focus on seeking resolution in white noise, the later works engage with themes of dissolution while shifting their emphasis toward acoustic particles. The copying process is now less visible through software manipulation; rather, it unfolds as the artist describes melodic and acoustic images that are then manipulated, copied, and transformed into new patterns during composition.

Nicolai describes this evolution as a journey encompassing buildup, exploration, and resolution, drawing parallels to the Odyssey and the stories of Jules Verne, particularly those featuring Captain Nemo.

The conclusion of this album holds a sense of finality for the artist. “I aimed to create a whole cycle of tracks that frame both the beginning and the end,” Nicolai explains. “The motif of the journey continues, but this time, the story reaches a dissolution through a conceptual object that embarks on its own journey into infinity. The word “dissolution” (“Auflösung” in German) is a wonderful concept. On one hand, you can solve a riddle, on the other hand, a pill can completely dissolve in water. Here, I am deliberately describing the process of dissolution.”
In crafting Volume 5, Nicolai has evolved his compositional process, eschewing samples in favor of original melodies. “This album probably took the longest to complete,” he reveals. “I first created melodic sketches, which became the foundation for the pieces. These recordings are created entirely from scratch. Based on these sketches, I constructed the process of copying, manipulating, and reshaping.”

Drawing from his recent experiences working with film and larger ensembles, Nicolai's approach to composition reflects a growing influence of classical instrumentation. “This experience of working with acoustic classical instruments has flowed into the compositional process for Xerrox Vol. 5. Certain instruments are designed with potential orchestral translation in mind.”

The sonic atmosphere of Xerrox Vol. 5 is one of profound dissolution. “I wasn’t initially interested in strong, emotional melodic aspects,” Nicolai shares, “but I realized that the fragment plays a central role.” This shift leads to an emotionally charged experience, imbued with melancholy and the bittersweet essence of farewell. The passing of Ryuichi Sakamoto, an admirer of the series, has further deepened the album’s emotional resonance.

“Xerrox Vol. 5 has a lot to do with farewell,” the artist explains. "Not only the farewell to the series itself, which I’ve nurtured for almost two decades, but also there have been many farewells to people who were close to me. I believe these people are recognizable in the music. It’s a very emotional, personal album.”

Listeners can expect a visual dimension to the music, though Nicolai intentionally leaves this open to interpretation. “I prefer to allow the music to evoke personal experiences and images rather than dictate a specific narrative,” he states. The result is a layered listening experience that invites tenderness and introspection.

Strut proudly present the brand-new studio album from Nubiyan Twist, 'Jungle Run'.

Now one of the leading lights in the UK's new generation of soulful, genre-fluid artists, the Leeds-born and now London-based 12-piece collective have created their finest recordings to date, effortlessly weaving together elements of jazz, soul, hip hop, African styles, Latin, dub, hip hop and electronics in a flow of thought-provoking and life-affirming music.

Recorded at the band's own self-built Henwood Studio in rural Oxfordshire, the album effortlessly moves through different voices from the band's circle. The inimitable, timeless vocals of Nubiya Brandon lead the way on the album's title track about breaking preconceptions and promoting equality, 'Where you from I'm from wherever I be.' Saxophonist Nick Richards vocals the killer first single from the album about inner turmoil and a search for the truth, 'Tell It To Me Slowly' while rising Ghanaian star K.O.G. appears on the Afro jams 'Basa Basa' and 'They Talk'. Percussionist Pilo Adami (Nina Miranda / Afrosamba) voices the infectious bossa-jazz jam 'Borders'. The band also draft in two African legends for guest duties with the original Afrobeat maestro Tony Allen on 'Ghosts' and Ethio jazz pioneer Mulatu Astatke contributing vibes on the sinuous 'Addis To London'. 'The depth of talent and ideas that every member of this group has brought to the table for this album is incredible,'

says producer and orchestrator Tom Excell. 'Conceptually, 'Jungle Run' is all about connecting different people and cultures whilst exploring the journey of individuals. This album is the pinnacle of everything we have done to date and to collaborate with the godfathers of Afrobeat and Ethio Jazz and celebrate their music in a modern context was very humbling.'

The album is another landmark for a band that has been consistently developing their sound since their formation in 2015 at Leeds College Of Music. 'One of the biggest factors in our sound was the exciting music scene in Leeds,' explains saxman Joe Henwood. 'From a reggae night called 'Sub Dub' to venues playing whacked out experimental jazz.' Since then, the band's self-titled debut album (2015), EP 'Siren Song' (2016) and single 'Dance Inna London' (2017) have become classics in their own right and their live show has become an essential ticket; previous live highlights have included high profile slots at David Byrne's Meltdown at the South Bank and Glastonbury West Holts

'Jungle Run' is released on 15th February on CD, 2LP and digital. Cover artwork comes from acclaimed designer Marcus Davies and the album is mastered by The Carvery. Nubiyan Twist tour across Europe from November.

Bicoastal disco aficionado, Super Elevation label/shop owner, and all-around legend of the scene, Tom Noble brings forth a sprawling project 15 years in the making with his House of Spirits full length LP on Razor-N-Tape.

Slow-cooked over more than a decade, the eight tracks that stretch across this double 12 inch pack are the realization of Tom’s unique vision of modern dancefloor soul, with lush live instrumentation and deviously catchy hooks. Boasting a near encyclopedic knowledge of decades of club music, Tom draws on influences like Patrick Adams & the Mizell Brothers to build a sound that’s both reverent to the past, but feels extremely fresh and immediately timeless.

The lead off singles ‘Times Are Changing’ and ‘Please Take Me There’ and respective remixes by Harvey Sutherland, Makez and Sizmo have already garnered huge support, and ‘Holding On’ the beloved original House Of Spirits single from 2020 appears with a shiny new mix. The album opens with ‘Love Trip,’ an uptempo invitation to the sonic world to follow, and moves through various moods, like the Brit-funk vibe of ‘Time Is Running Out,’ the mid-tempo groover ‘I Get Lifted’ and the downtempo R&B smoothness of ‘Diamond Eyes’ featuring dreamcastmoe on vocals.

The cheeky dollar bin artwork rounds out this package perfectly, and with the tracks mixed to perfection and cut tough for the floor, this is an essential record that will surely find a permanent home in the bag.

Woven together from home studio recordings that span two decades, and with some notable guest appearances including; The Bug, Douglas Leal of Deafkids, Wayne Adams of Petbrick, Dave French of Yob and Sanford Parker, this final part of the Harvestman Triptych seeks once again for a lost world, with the voice of poet Ezra Pound extolling the virtues of "gathering from the air a live tradition".
Cloudy Clear plus Black Galaxy effect vinyl in dub style jacket. Limited and Non-Returnable.
At its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.

Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, Triptych is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.

"Herne's Oak" provides seismic bass waves that physically halt the track in its steps - giant footfalls as Herne's antlers themselves are dragged along a corridor. Another curious and mysterious piece of British folklore brought to life by Harvestman.

If Triptych is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with Triptych itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

Cover art is by Henry Hablak, who also designed the art for Part One and Part Two.

“Music is my forever cove,” writes Portland, Oregon’s Luke Wyland of the ideas that give shape to Kuma Cove, his latest album under his own name. Though named after a real place on the Oregon coast, Kuma Cove casts its gaze far beyond the sightseer’s line of vision. Recorded live in the studio and blurring obvious lines between computer-based composition and electro-acoustic instrumentation, it is an album about flow, borders, transitory states, and shelter. Composed of discontinuous ripples and repetitions (“I’m forever searching for a better descriptor than looping, which feels too simple and flattened by overuse,” Wyland says), shaped into richly emotive arcs, and informed by his experience as a person who stutters, it is also an album about identity, self-expression, and the energies that sluice through and across what we perceive as linear time—like floodwaters seeking an exit, like streams running into the sea.

Artist’s Statement:
I made this record while spending significant time in the woods by the Sandy River in Corbett, Oregon,
where I've had my studio for the last five years. It is a diary of spontaneous live recordings edited to highlight the moments of clarity that emerge from long-form improvisations. These compositions express a slowing internal rhythm. An unwinding. A somatic recalibration as I enter middle age. A newly empowered vulnerability.

Here are the internalized cadences of my stutter, flowing freely from my fingers. The musicality of my disfluency is revealed in its frictions, elongations, and foreshortenings. Disruptions in linear time, where the bubbling cadences of my stutter find unexpected pathways, reveal the elasticity of the present moment. This is my idiosyncratic language, shaped and inspired by my disability. Subliminally mirroring internal processes, neural firings, cognitive entanglements...

The title, Kuma Cove, refers to a beloved cove on the coast of Oregon my wife and I return to yearly. There has always been something so magnetic about coves. The way they cradle one from the overwhelming enormity of the ocean beyond, muting a primordial fear. I experience these improvisations as ecosystems I'm able to inhabit for stretches of time, embodying the particular rhythms and sensorial textures within each. Music is my forever cove. Everything you hear is created live in Ableton on a setup I've been honing for 15 years. I celebrate MIDI and computer music as an extension of self and strive to make it as expressive as any analog instrument. I was a visual artist for the first half of my life and quickly adapted those skills to composing and producing on a computer. The transition felt natural within the landscape of DAW's interfaces, especially as a synesthete. Ableton and its community of Max creators continue to surprise me with its expansiveness.

I'm forever searching for a better descriptor than looping, which feels too simple and flattened by overuse. I envision sonic loops as tangled masses of time, three-dimensional knots spinning on tilted axes, or overlapping wreaths refracting out a myriad of colors. My practice is continually refocusing my ear to what is revealed in the repetitions, searching for the fingerprint of each. I find it incredible how technology lets us manipulate time like this. Nothing on this record is quantized or locked to a universal bpm. Experiencing numerous tempos at once feels important. Recordings as mirrors. Freedom from expected (conversational) flow as we hold time for each other.
-Luke Wyland, August 2024

Artist Bio:
Luke Wyland is an interdisciplinary artist, composer, and performer based in Portland, OR (USA). Wyland has been releasing critically acclaimed records for the past 20 years in the groups AU and Methods Body, as LWW, and under his own name, working with such labels as New Amsterdam, Beacon Sound, Balmat, The Leaf Label, and Aagoo Records. As a person who stutters, Wyland’s approach to music is informed by his idiosyncratic relationship with language. Wyland believes deeply in the cathartic power of live performance as a means for collective healing. Through an interdisciplinary art practice that focuses on improvisation, somatic embodiment, bespoke tuning systems, the cadences of disfluent speech, and time manipulation technologies, he’s collaborated with choreographers, high-school choirs, filmmakers, sound designers, and renowned musicians such as John Niekrasz, Holland Andrews, Colin Stetson, and Abraham Gomez-Delgado. He’s also the co-creator of the “It’s A Fucking Miracle” dance class with Tahni Holt.
Wyland has toured nationally and internationally and performed at the Whitney Museum, Ecstatic Music Festival, Issue Project Room, PICA’s Time-Based Arts Festival, End of the Road Festival, and Les Nuits Botanique, among others.

"Eva Cassidy's Walkin' After Midnight collection is literally a ticket back to Eva's accidental Western Swing Night. A small gig at the King of France Tavern, downtown Annapolis. The 2nd of November, 1995, two months prior to her now famous Live At Blues Alley recordings. When two of Eva' s usual four band mates were unavailable, she improvised via an impromptu invite to musician friend Bruno Nasta.

Proving the old adage, less can be more, the resulting violin/ lead guitar/bass combo, together with Eva's acoustic guitar, created a serendipitous alternate context for some of Eva's most popular repertoire. Dancing in the space opened up by the absence of additional instruments, Eva's vocals are as joyous and free as any previously heard. Although 11 of the 12 songs (all but Down Home Blues) appear on existing Eva albums, all 12 tracks are previously unreleased Eva Cassidy recordings."

Nosferatu (1922) is still one of the most highly regarded horror films of all time, F.W. Murnau’s unauthorised adaptation of Bram Stoker’s Dracula, it remains an Expressionist masterpiece of the silent era.

Much of the original score by Hans Erdmann (meant to be played live by an orchestra) was lost, leading Nosferatu to inspire several subsequent soundtracks, the best known of which is by Hammer Horror composer James Bernard, written for the Tanis Film video reissue of the film in 1997. The world premiere of the score was performed by Nic Raine and the City of Prague Philharmonic Orchestra at the London Film Festival the same year and now, almost twenty years later, the score is being pressed on vinyl for the first time.

Originally released in 2017, Beast Epic, Iron & Wine’s fourth album for Sub Pop, recasts soft power as a series of vignettes, observations and regular old songs that redeem through joy and a certain expectation of grace. Even the instant classic, “Bitter Truth, with a lyric as pained and direct as any I've heard from Iron & Wine, is leavened with background vocals recalling The Jordanaires. The album brims with surprise flourishes, classic touches and an appealing confidence that is evident on songs like “Call It Dreaming,” “Thomas County Law,” “About A Bruise” to the almost croony “Last Night.” Iron & Wine’s Beast Epic was written and produced by Sam Beam, and recorded and engineered by Tom Schick at the Loft in Chicago in July 2016 and January 2017. The musicians who played on Beast Epic include longtime Iron & Wine collaborators Robert Burger (keys), Joe Adamik (percussion), and Jim Becker (guitar, banjo, violin, mandolin), along with bassist Sebastian Steinberg (Soul Coughing and Fiona Apple), and Chicagoan Teddy Rankin Parker (cello). Beast Epic was mastered by Richard Dodd in Nashville, Tennessee. *The term "soft power" was cribbed from author and Harvard professor Joseph Nye, but used in a different context.

"Eva Cassidy's Walkin' After Midnight collection is literally a ticket back to Eva's accidental Western Swing Night. A small gig at the King of France Tavern, downtown Annapolis. The 2nd of November, 1995, two months prior to her now famous Live At Blues Alley recordings. When two of Eva' s usual four band mates were unavailable, she improvised via an impromptu invite to musician friend Bruno Nasta.

Proving the old adage, less can be more, the resulting violin/ lead guitar/bass combo, together with Eva's acoustic guitar, created a serendipitous alternate context for some of Eva's most popular repertoire. Dancing in the space opened up by the absence of additional instruments, Eva's vocals are as joyous and free as any previously heard. Although 11 of the 12 songs (all but Down Home Blues) appear on existing Eva albums, all 12 tracks are previously unreleased Eva Cassidy recordings."

Malt, music and mars bars: Glasgow goes hard, fast and deep-fried. Dream Ticket is no stranger to a cheeky snack on the way home, so here's four morsels from the Scottish city's Modus to get down ye: hell-for-leather juke n jits on the A side; braindance and jelly legs footwork on the B. As the old adage goes, jack yer wee booty!

Known for his pivotal role in the Acid Techno sub-genre revival through his label, Involve Records, Regal's latest work revisits the genre's essence while infusing it with a fresh, modern twist. Under his ACIDBOY alias, his latest album, 'The Final Chapter', is a nostalgic and forward-looking expression of an artist who has grown and adapted but remains true to his core musical identity.



This eleven-track project blends the high-energy sounds that first defined his career with the depth and maturity gained over years of evolution whilst also honouring an unforgettable era of one of electronic music's boldest and most expressive sub-genres and artists.

'The Final Chapter' is an album that goes against the current flow, bringing to light the sound of the sub-genres of Techno from the last 35 years. It's a clever balance between past and present, the old and new Regal aka ACIDBOY, emphasising his introverted artistic side, a lover of music and production as well as a story intended for a patient and cultured listener. The album defies superficial musical trends, offering a profound sonic experience that invites listeners on a deeper journey, far removed from the quick-hit tracks designed for social media.

The name of this album and Regal's previous EP 'The Last Summer' certainly leaves room for interpretation as these might sound like signs of a farewell to the music scene.