Search:al core

LP in printed inner sleeve + CD. Ultimate Survival is an experiential album that takes you along on the undulations of a tale.With keyboard player Hendrik Lasure and drummer Casper Van De Velde (together: Schntzl), APQ pretty much has the core of 'The New Wave of Belgian Jazz' in its ranks.



What a person needs in 2024, according to singer-pianist An Pierlé? "Less regret. Less fake. Less fear. And the courage to live in the now." She sings about it all with the wisdom of a woman who no longer has to be a girl. Four years after Wiga Waga, the An Pierlé Quartet (APQ) is back with Ultimate Survival, its second album already on the prestigious W.E.R.F. records.

Compared to the APQ debut, the grooves are deeper and the lyrics more confronting. That has in part to do with the turn that Pierlé's life took. The illness with a capital C was warded off and the realisation that you can best enjoy your days while you have them has been all the more urgent since. Pierlé doesn't let something so dark dominate the new album though: the title doesn't refer to that period, but was given to her as a gift by artist Patrick Van Caeckenbergh, who designed the cover. Pierlé: "He drew his inspiration from an old book about animals that take care of other animal species. We all need some of that these days."

Ultimate Survival is an experiential album that takes you along on the undulations of a tale. First single The Sting immediately sets the tone. The song is about accepting the stupid things people do, even though they know better. The album celebrates the liberation of being able to start again with a clean slate, alternating husky warmth with the virtuoso outbursts of a seasoned voice. This is not classical jazz, but it is the work of a bona fide jazz band. With keyboard player Hendrik Lasure and drummer Casper Van De Velde (together: Schntzl), APQ pretty much has the core of 'The New Wave of Belgian Jazz' in its ranks.

The godfather of that jazz wave is producer/reed-blower Koen Gisen. "Casper and Hendrik are international class acts ", says Gisen. "The great thing is: they almost never play the same thing twice, not even in the studio. Live, this will be a wonderful derailment. In the knowledge that, thanks to these two, they will always land on their feet." Pierlé: "Our boys also have old souls. And that is exactly why they're our mentors, instead of the other way around. So we can opt for adventure. And to live in the now."

First Word Records is extremely proud to welcome aboard Takuya Kuroda.

A highly-respected trumpeter born in Kobe, Japan, Takuya is a forward-thinking musician that has developed a unique hybrid sound, blending soulful jazz, funk, post-bop, fusion and hip hop music.

After following the footsteps of his trombonist brother playing in big bands, he relocated to New York to study jazz & contemporary music at The New School in Union Square; a course he graduated from in the mid-noughties. It was here that Takuya met vocalist José James, with whom he worked on the 'Blackmagic' and 'No Beginning No End' projects.

Following graduation, Takuya established himself further in the NYC jazz scene, performing with the likes of Akoya Afrobeat and in recent years with DJ Premier's BADDER band (also including acclaimed bass player, Brady Watt). Premier said "The BADDER Band project was put together by my manager, and an agent I've known since the beginning of my Gang Starr career. He said, 'What if you put a band together that revolved around a trumpet player from Japan named Takuya Kuroda? He's got a hip-hop perspective and respect in the jazz field…"

Takuya Kuroda is already incredibly prolific, releasing five albums in the past decade and fortifying a solid reputation in the global jazz scene. 2011 saw the release of Takuya's independently-produced debut album, 'Edge', followed by 'Bitter and High' the following year and 'Six Aces' on P-Vine in 2013. Takuya was signed to the legendary Blue Note Records in 2014 for his album 'Rising Son', as well as appearing on their 2019 cover versions project, 'Blue Note Voyage'. He released his 5th album 'Zigzagger' on Concord in 2016, which also featured Antibalas on a reimagining of the Donald Byrd classic 'Think Twice'.

Late Summer 2020, Takuya Kuroda returns with his sixth album 'Fly Moon Die Soon'.

In his words, "this album is about the irony between the greatness of nature and the beautiful obsceneness of humanity. Melodies and grooves fly back and forth from being spiritual to being vulgar."

It took two years to make this album. In 2018, I decided I just couldn't make albums the same way I had been in the past anymore. As a birthday treat to myself, I booked a studio in Brooklyn for two days, with only myself and an engineer, Todd Carder. I brought along some tracks I'd been building at home to see if we could complete them within that time. We began replacing sounds and adding texture, sampling noises from all over the studio; me sipping coffee, hitting a 26" kick drum, speeding up snares. At the end of the two days we were like "wow, I didn't know we could make tracks this good in this way". This is how the process of the full album started. Everything was based on my beats I made at home, inviting musicians in one by one, adding or replacing parts. I was very careful when developing these tracks; just note by note, part by part. I wanted to make the music effectively from a blend of two different recording methods; one very slickly produced part and one very organic part played by live musicians. I remember mixtapes from when I was kid, and wanted to make an album that wasn't just a bunch of flashy singles, trying to catch people's attention in the first 30 seconds, or full of guest features. Instead, I'm essentially just trying to let the grooves breath."

The album consists of nine tracks of excellence. The uptempo jazz-funk of 'ABC' and 'Moody' sit alongside soulful jazz cuts like 'Fade' and 'CHANGE', also featuring Corey King on vocals. The title track is a downtempo groove lead by a heavy Moog bassline, whilst 'Do No Why' contains an infectious piano riff throughout. Aside from Takuya's original compositions, he revisits two classics from Ohio Players ('Sweet Sticky Thing' featuring Alina Engibaryan on vocals) and Herbie Hancock ('Tell Me A Bedtime Story') whilst the album closes with the epic 'TKBK'.

Takuya adds "this special cover was inspired by the Golden Moon I saw during a photoshoot in Death Valley with my homie Hiroyuki Seo".

Takuya Kuroda is a truly unique talent, and this album is a realisation of the evolution of his sound.

'Fly Moon Die Soon' is released on Worldwide Award-winning UK label First Word Records on vinyl & digital in September 2020.

Rock & Roll Hall of Fame inductee, two-time Grammy® Award-winning Hip-Hop icon, Kennedy Center Honoree, actor, author, NAACP Image Award winner, entrepreneur, philanthropist, and founder/CEO of Rock The Bells, LL COOL J continues his trailblazing career with upcoming album 'The FORCE'.

LL’s highly anticipated 14th studio album The FORCE (Frequencies of Real Creative Energy) set for release September 6th follows over a decade long hiatus. The record was executive produced by Hip-Hop innovator and Rock & Roll Hall of Fame inductee Q-Tip, of A Tribe Called Quest. With this album, LL will help celebrate the 40th anniversary of the creation of Def Jam Recordings. As LL was the label’s first release, there is no better way to represent the legacy of Def Jam Recordings on its 40th year

Rock & Roll Hall of Fame inductee, two-time Grammy® Award-winning Hip-Hop icon, Kennedy Center Honoree, actor, author, NAACP Image Award winner, entrepreneur, philanthropist, and founder and CEO of Rock The Bells, LL COOL J has created one of the most multifaceted careers and brands in entertainment and continues to display his wide range of talents with every project.

Four decades after he first burst onto the scene, LL COOL J continues his vibrant, trailblazing career. LL COOL J helped elevate the burgeoning rap and Hip-Hop scene of the 80’s, which developed into the musical and cultural phenomenon that is Hip-Hop as we know it today. Of LL’s many contributions to the culture, he also is credited with the creation of the acronym “G.O.A.T.” - short for “Greatest of All Time.”

First introduced to the world in 1984 as a Def Jam Recordings’ flagship artist, LL is the first rap artist to amass ten consecutive platinum-plus selling albums, including his critically-acclaimed debut album, RADIO, and the international, timeless anthem and album of the same name, MAMA SAID KNOCK YOU OUT. LL’s hit singles include “Going Back to Cali,” “Doin’ It,” “Around the Way Girl,” “Loungin’”, “Headsprung,” and Hip-Hop’s first rap ballad “I Need Love.”

Up next, this fall LL is back to make his latest artistic contribution and continue to elevate Hip-Hop culture after over a decade long hiatus with the release of his highly anticipated new album, The FORCE (Frequencies of Real Creative Energy), executive produced by Hip-Hop innovator and Rock & Roll Hall of Fame inductee Q-Tip, of A Tribe Called Quest. With this album, LL will help celebrate the 40th anniversary of the creation of Def Jam Recordings.

In December 2017, LL became the first rapper to earn the prestigious Kennedy Center Honor, which is America’s highest achievement for any performer. In addition, he received his star on the world-renowned Hollywood Walk of Fame on January 21, 2016.
In March 2018, LL launched his own SiriusXM timeless Hip-Hop channel entitled “LL COOL J's Rock The Bells Radio,” garnering millions of daily listeners. The channel features a wide range of innovative and timeless Hip-Hop content, music, interviews, and in-depth retrospectives curated, programmed, and presented by the award-winning artist himself. Since founding the radio station, Rock The Bells has developed into a global platform that has become the preeminent voice for timeless Hip-Hop. Rock The Bells focuses on content, commerce and experiences that honor the CULTURE and the core elements of Hip-Hop – MCs, DJs, Breakers, Graffiti Artists – and more. Rock The Bells hosted its inaugural eponymous music festival in Queens, New York in August 2022, which sold out back-to-back years in 2022 and 2023, where LL headlined both festivals.

LL COOL J was inducted into the Rock & Roll Hall of Fame on October 30, 2021, in Cleveland, Ohio for the 36th annual induction ceremony. Considered by most as the crowning achievement for one’s musical career, the ceremony was a celebration of LL’s lasting impact on Hip-Hop and the music industry.

In Summer 2023, LL COOL J, Rock The Bells, and Live Nation Urban kicked off his first arena tour in 30 years across North America called The F.O.R.C.E. Tour, inspired by the name of LL’s forthcoming album. Living up to the acronym for Frequencies of Real Creative Energy, the lineup for this tour was personally curated by LL COOL J. Building off their amazing performance together on the GRAMMY® Awards earlier that year celebrating the 50th Anniversary of Hip-Hop, all dates featured collaborative live performances with preeminent Award-winning Hip-Hop band The Roots, the legendary DJ Jazzy Jeff, and DJ Z-Trip.

LL hosted the GRAMMY® Awards for an unprecedented five years in a row from 2012-2016, for which he earned rave reviews. In addition, he hosted and produced the GRAMMY® Nominations Concert Live Special for seven years and has also been a presenter at the Emmy®, Golden Globe® and SAG Awards. Most recently, at the end of 2023, LL helped produce CBS’ live concert special A GRAMMY Salute To 50 Years Of Hip-Hop, which celebrated the 50th anniversary of Hip-Hop and was nominated for an NAACP Image Award.

LL has always been an avid philanthropist involved in numerous causes, including literacy for kids as well as music and arts programs in schools. Founded in 2005, LL’s charity “Jump & Ball” – which takes place every August in his hometown of Queens, New York – aims to give back to his local community by offering an athletic and team building program dedicated to bringing wholesome fun to young people.

Between being a musician, actor, philanthropist and entrepreneur, LL COOL J is the ultimate multi-hyphenate whose career continues to expand and where he remains one of the most beloved and innovative brands in entertainment. He currently resides in both New York and Los Angeles.

2019 feiert das Blue-Note-Label seinen 80. Geburtstag. Unter den Aktivitäten des Jahres findet sich
auch eine für Vinyl-Fans besonders interessante: die "Tone Poet Audiophile Vinyl Reissue Series".
Man nennt ihn den 'Klangpoeten': Joe Harley, Mitbegründer und Koproduzent des renommierten
amerikanischen Vinyl-Labels und Mail-Orders 'Music Matters'. Zum Jubiläum wurde er jetzt von Blue
Note beauftragt, ausgesuchte Alben für eine exklusiven LP-Edition zusammenstellen. Diese rein
analogen Reissues werden von den originalen Masterbändern von Kevin Gray (Cohearent Audio) neu
gemastert und bei Record Technology Incorporated (RTI) in 180g-Vinyl gepresst. Die Originalcover
werden als hochwertige, schwere Tip-on-Sleeves faksimiliert. Zu den von Joe Harley handverlesenen
Aufnahmen werden für ihre Aufnahmequalität berühmte Blue-Note-Klassiker, aber auch
herausragende aktuelle Einspielungen gehören.
Die ersten beiden Alben der Serie sind besondere "Blue-Note-Leckerli": Wayne Shorters 'Etcetera'
und Chick Coreas 'Now He Sings, Now He Sobs'.
Ausstattung: 180g-Pressung, neues Remaster von den Analogbändern, keine digitalen
Fertigungsschritte, schwere Tip-on-Hüllen

Beirut Birds (طيور بيروت) is a sonic memory capsule honoring (inter)personal stories of migration, displacement, and the cyclical turbulent circumstances in Lebanon. Transforming her multi-year project, multidisciplinary artist and composer Nour Sokhon crystallizes the performance Beirut Birds (طيور بيروت) into her long-awaited debut album. When presented and performed live, it is accompanied by juxtaposed images of the Lebanese capital’s city life and avian migration across the Mediterranean Sea, representing themes strongly woven into the music.

In her variegated artistic process, Nour has undertaken and recorded interviews with diasporas and repatriates to commemorate, share, heal, and envision. These source materials become the album’s core elements that loop, narrate, and return throughout time, with Nour responding with both instruments and her voice. Chanting in dialogue with the interviewees, crafting near-mantras, Nour further congregates these materially-rooted soundscapes by including field recordings that she gleaned during 2018–2021 in Lebanon and her subsequent move to Berlin.

Embedded within the composition are manipulated sounds from objects that symbolize migration, such as office bells, a luggage wheel, car parts, and bureaucratic paperwork. Musically, the songs are enriched by Nour’s improvisations on classical piano, electronics, synthesizers, violin, and various percussion instruments. As time is sculpted and the layers blur, words become specters, while an entropic orchestra of drums and melody rises, giving shape to an in-between space for those who have left, and stayed.

Music and artistic research by Nour Sokhon, 2018–2024. Recording, editing, and mixing by Rabih Beaini at Morphine Raum, Berlin. Mastered by Rashad Becker at Clunk.

It’s safe to assume no one in the audience at Carnegie Hall on March 30, 1974 anticipated what Miles Davis would play at the concert documented on Dark Magus: Live at Carnegie Hall. Recorded near the tail end of his electric period, the double album remains the darkest, most ferocious statement of Davis’ career — a visionary effort that foresaw developments in jungle, noise-rock, funk, and drum ‘n’ bass.

Initially issued in Japan in 1977, Dark Magus waited two decades for U.S. release. Now, more than 50 years after Davis and his ensemble blew minds at the famous New York venue, it gets its first-ever domestic issue on vinyl — and on a definitive-sounding pressing at that.

Mastered at Mobile Fidelity's California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, this numbered-edition 180g 33RPM 2LP set of Dark Magus invites you to pull up a seat and wrap your head around an exhilarating performance that simultaneously functions as an audition, experiment, release, and magnificent explosion of jazz-rock fusion. We hope your turntable and speakers are up to the challenge.

This collectible reissue presents the improvisational magic that unfolded onstage — the skronking tonalities, wah-wah-pedal bluster, acid-washed effects, furious drumming, run-the-voodoo-down grooves, menacing riffs, crashing cymbals —with incredible detail, color, and pace. It also captures the band’s unbelievable energy, rendering both instruments and on-the-fly changes with revealing depth, definition, and dynamics. At its core, MoFi’s audiophile set takes you deep into the boundless mystery, promise, and uncertainty of Davis and company’s efforts like never before.

The story behind Dark Magus is nearly as unbelievable as the spur-of-the-moment compositions that resulted when Davis brought drummer Al Foster, bassist Michael Henderson, percussionist James Mtume, horn virtuoso Dave Liebman, and guitarists Pete Cosey and Reggie Lucas together, and, in a new twist for the concert’s second half, added guitarist Dominique Gaumont and tenor saxophonist Azar Lawrence to mix. That the latter two instrumentalists had never seen each other until that night adds to Davis’ legend — and penchant for bold, unorthodox moves.

Ditto Davis’ own actions that spring evening, which reportedly included showing up to the show an hour late and taking the stage with his back facing the crowd. The strategy worked. Davis inspired the group to play in a bold manner that few, if any, had heard before. Dark Magus is a rhythmic bonanza. Rooted in Afro-centrist techniques, avante-garde sensibilities, and exploratory moods, the songs eschew set arrangements and solos, and, for the most part, melodic devices.

For Davis, Dark Magus represented a personal triumph amid a period marked by health issues, addictions, and critical decline. The latter slight would be corrected, but not until decades later when Dark Magus saw Stateside release in 1997 via a CD reissue. Of course, the free-form patterns, unpredictable passages, dense structures, and distorted blues that course through the songs — titled after Swahili numerals — are not for everyone. And certainly not for the fainthearted. Though Dark Magus contains majestic moments marked by quiet restraint and something on the level of balladry, its rich and radical concoction of tormented thwacks, thumps, cracks, clatters, wails, bleeps, burbles, stomps, and enigmatic beats remains its adventurous heart and soul.

Primal and enigmatic, fierce and jagged, forceful and revolutionary, jolting and terrifying, Dark Magus seemingly attacks from any and all directions. Turn it up loud and let the prophetic brilliance of this inimitable and relentlessly funky album wash over you.

When a Freckle pops up, that’s when you know that the sun has gotten through. Don’t let ‘em tell you it’s skin damage – more like the sign of time well spent, as always, in the light. Freckle the band’s like that. Freckle is, then, a Californian, the hive mind of Corey Madden and Ty Segall. This LP reminds all of us that when the clouds are out you can still get sunburned.

Rising from the core of the underground in Latin-America, Buenos Aires duo HAPPY707 makes its debut on Disidencia Records with a powerful 5 track EP which includes a remix by no other than Dutch synth wizard Legowelt.

Pungent vocals, accurate distortion and fierce kicks, surround beautiful and alluring melodies created throughout the whole record.

Happy707 forges energetic beats accompanied by a meticulous flow of electro, wave and industrial sounds.

David Allred is a prolific composer and producer based in Portland, Oregon. His new album The Beautiful World captures an enriched, realised understanding of why he composes in the first place. Dedicated to the expression of existential themes such as death, grief, longing and loss, the album’s core theme centres around the suicide of a young girl Lauren, who was a family friend to Allred. For as long as he could remember, Allred always created music out of a kind of dissociative state which he finds alluringly easy to lapse into. A repetition of a motif is usually where he begins composing. But unlike his previous works, The Beautiful World firmly has one foot in reality and is deeply intertwined with Allred’s relationships, past and present. Through his correspondence with Erased Tapes label head and the album’s producer, Robert Raths, over the past year, he came to realise that everyone has a Lauren in a way – someone they’d lost. Through writing to Raths, Allred was able to draw out this thread from the work and position it more clearly as the central concept to this work. The music doesn’t reflect the chaos of trauma, instead it has a therapeutic quality. It was through this dialogue that Allred was able to create what may be his most cohesive body of work to date. The 11 track album unfolds around Oh Lauren, providing the core of the album’s sentiment – how grief returns to us throughout life over and over. Embedded more than halfway through the album, Allred allows listeners to cohabit a meditative space through ambient textures, drones and ballads echoing the vocal sincerity of Arthur Russell, Daniel Johnston and the hypnotic storytelling of Robert Ashley. To truly reckon with The Beautiful World’s emotional position, listeners must understand the importance of the figure of Lauren, and the significance she has had throughout Allred’s life. Lauren’s suicide as a child provided the catalyst for Allred’s lifelong grief. But it was death anxiety and grief itself which provided Allred a link to a universal relationship that people have with each other and the world they live in. Impermanence and loss are the driving force behind all of our connections. The trance-like nature of the album perhaps comes from David Allred’s time sense – particularly when it comes to memory and trauma. Time becomes non-linear rather than a straight line – where one can repeat or return to the same themes but older and in a different frame of mind. Grief continues to manifest itself in life and despite personal growth, there will always be moments where the same feeling will manifest itself again. The album encourages listeners to sit with the concept of grief, and Allred is hopeful they can find comfort and learn to process it in a healing way. The Beautiful World is therefore heavily influenced by Allred’s work in therapy, particularly his relationship to writing music. In the past, Allred would be composing music as a means to dissociate from his life, but the album sees him engaging and connecting more authentically than ever with others and himself. Despite his prolific previous works being made in the company of others, Allred needed to step back from the scenes that he’s worked in to discover what he really wanted to create. Allred concludes: “In the power of love, curiosity, humour, and reconciliation, we give you The Beautiful World.”

From the frayed loop of San Diego's white belt `90s scene, Boilermaker provided a subtle counterpoint to the Gravityobsessed post-hardcore landscape. They called it Leucadia-core, a hybrid of major chord riffs, emotive yelps, angular bass chug, and pounding rhythms, building and releasing with the Swami tides. NotEnough Time To Get Anything Halfway Done compiles the trio of Terrin Durfey, Tim Semple, and Richard Sanderson complete discography_three albums, singles, and rarities_into a 41-song/ 4xLP box set, with annotation and illustration in the accompanying 24-page book. Surfs down. Hang zero.

From the frayed loop of San Diego's white belt `90s scene, Boilermaker provided a subtle counterpoint to the Gravityobsessed post-hardcore landscape. They called it Leucadia-core, a hybrid of major chord riffs, emotive yelps, angular bass chug, and pounding rhythms, building and releasing with the Swami tides. NotEnough Time To Get Anything Halfway Done compiles the trio of Terrin Durfey, Tim Semple, and Richard Sanderson complete discography_three albums, singles, and rarities_into a 41-song/ 4xLP box set, with annotation and illustration in the accompanying 24-page book. Surfs down. Hang zero.

To celebrate the debut release on his own label, Hindwood extols the power of intuition, which has served as his guiding force since his childhood.

Fueled by love and a deep connection to the cosmos, he blossomed as an artist, attracting a circle of talented artists into his orbit, such as Brique and Local DJ. This EP is a sonic journey through his inner awareness and the web of cause and effect: an exploration of the invisible threads that bind us all together.

#1 “Guts’ feeling”, is resonating with the heartbeat of the universe and the pulse of ancestral memory, use of tribal sounds and deep bass. Through this track, he conjures a world of duality, where the darkness and the light coexist in perfect equilibrium, revealing the beauty of both.

#2 On “Third eye awakening”, he draws on the primal energy of deep, trance-like, and energetic soundscapes, and weaves a sonic tapestry that transports the listener to a realm of heightened awareness and connection.. The whispers of his soul and the song of the earth, intertwined in a harmonious dialogue that speaks to the deepest part of his being.

#3 Captivated by the mystical powers of Third Eye Awakening, Brique delivers a hypnotic remix. Appropriating the distinctive vocals and pads of the original track, he has fashioned an ode to never-ending nights animated by his own hazy memories of losing oneself on the dance floor. The deep and organic bass combined with the looping and trance-inducing acid will shake listeners to their core.”

#4 The local dj remix finishes the EP with a more atmospheric allure of dub. With a deep, throbbing bassline that anchors the groove local dj sets the pace, inviting movement and dancefloor immersion where elements evolve all along the track and keep the listener engaged from start to finish.

John Gosling (aka Mekon) the English big beat/industrial musician and electronica producer, is set to launch his new label Hua Hua (pronounced wah wah) with an 11-track compilation album this July. A quick scan at some of the featured artists showcases a line up of legends - eighties rap sensation Schooly D sitting alongside Primal Scream mainstay Bobby Gillespie and John’s recently departed punk hero Alan Vega - even Roxy Music’s saxophonist and founder member Andy Mackay makes an appearance. And while John’s electronic alter ego Mekon is always on hand to remix and arrange, he’s far from the only producer behind the proverbial wheel.
“It’s stuff I had lying around and now I am finding ways to get it out of my system,” he says. “It’s all been brought to the world with brilliant new artwork by Isabelle de Jour, who also features on various tracks.”
Gosling is well known as a member of both Psychic TV and Coil (for the album Transparent). Gosling founded the groups Zos Kia with John Balance and Bass-o-Matic with William Orbit before recording as Mekon. He has also remixed under the name Sugar J. And that’s before we get to the fact that he has soundtracked some of the most forward-thinking fashion shows in the world - crafting the soundscapes for Alexander McQueen shows since the show Dante in 1996. Firstly working hand in hand with the late great Lee “Alexander” McQueen, then with his successor Sarah Burton. In the mid-to-late-nineties he was a core member of the group Agent Provocateur along with Matthew Ashman (originally of Bow Wow Wow), Dan Peppe, Danny Saber (of Black Grape) and Cleo Torez. He has also worked with artists such as Roxanne Shanté ('Yes Yes Y'All'), Marc Almond ('Delirious'), and Afrika Bambaataa. His third album “Something Came Up” featured artwork by Alexander McQueen.
John is as passionate about Suicide and Alan Vega and what he describes as “the new stuff”. Besides, he says, “that’s how people listen to music now. I think kids – my kids anyway – listen right across the board. People don’t see genres anymore. So it’s my definition of good music.” It’s safe to say that this is very much Volume 1. “Yes, it doesn’t cover everything and Volume 2 will be completely different.”

The more you recall a particular memory, the more it distorts and plays on your sense of narrative continuity. In this way, the vividly textured layers of Secret Recess – the debut Dauw LP from Luke Entelis aka Viul – comprise a sacred experience that leaves a unique emotional residue with each listen. Some pieces feature delicate melodies curling over themselves, while others offer gradually evolving loops underpinned by subtle guitar plucking, distant found sounds and obscured voices at half-speed. All are crafted meticulously with analogue sources and sifted through soft-edged tape processes that reward a dedicated headphone session, conjuring the solitary space promised in the album’s title.

From a home studio replete with analog synthesizers, guitars, effects and tape machines, Secret Recess emerged slowly across an era when most of us turned inward by necessity, drawing upon a library’s worth of sketches, recombinations and lightning strikes. Entelis also cites in particular a road trip to the national parks of the southwestern US that significantly informed the hazy, spacious atmospheres of the work that followed; by his account, “the desert wind was too intense for field recording,” but you can still feel it drifting across compositions like “Taurum” and “Eighties”. Such a union of urban huddle and open-sky expanse allows the album to take on new colours anywhere it’s heard.

Whether fully formed in one brief spell or developed over months of revisitation and refinement, each facet of the Viul catalogue conveys a rare, sweet melancholy pulled from thoughtful circuitry and the core artistic impulse to simply document the ephemeral – those moments in existence that you have to accept losing, but which replay endlessly once the day unravels.

“In the depths of the recording process I often feel simultaneously in touch with past and future versions of myself, which is strange, but good, I think.” (Viul)

Viul has been the primary project of Brooklyn’s Luke Entelis for nearly twenty years, but only in the last half-dozen has it come to fruition beyond the ears of friends and family. The albums Bright Decline (Disques d’Honoré, 2019) and Outside the Dream World (Past Inside the Present, 2019) beautifully justified this patient arc, and the collaboration Konec with Benoît Pioulard (A Strangely Isolated Place, 2022) entwined the two artists’ sensibilities into one of the most notable ambient/experimental collections of the year.

Inspired by Dua’s own self-discovery, Radical Optimism is an album that taps into the pure joy and happiness of having clarity in situations that once seemed impossible to face. The hard goodbyes and vulnerable beginnings that previously threatened to crush your soul, become milestones as you choose optimism and start to move with grace through the chaos.

Infused with the energy of Dua’s hometown, London, the attitude of the album embodies the rawness, honesty, confidence and freedom of ‘90s Britpop. Radical Optimism transports its listener to a dreamy pop world rich in musicality, lyrically unapologetic and sonically liberating.

The 3x GRAMMY and 7x Brit Award-winning global pop powerhouse worked with a team of core collaborators throughout the project including Caroline Ailin, Danny L. Harle, Tobias Jesso Jr. and Kevin Parker.

Unfettered by studio time limitations with their own home base of Echo Canyon, SYR 2 shows Sonic Youth chasing the shadows of predecessor SYR 1 and the series' distinct aesthetic: total exploration of freedom and further discovery. While the cover art evokes European contempo classical releases of yore, Sonic Youth distinctively reinvent their own personal output potential the way those kinds of records revolutionized a previously defined genre. Their ethos of utilizing the roots of the Ramones, Television, VU, Stooges, and No Wave to shape their first decade now find the band in later years bullet-pointing fascination in AMM, MEV, improvised music, free jazz and other outer-limit/organic refractions of traditional rock. While Sonic Youth's spontaneous-creation moments had long been showcased in their recordings, Peel Sessions, and live, SYR 2 sums up the band's state in 1997: rolling lots of tape, fine-tuning ideas and presenting great moments of exciting new directions, allowing deep-listener type fans to gain better insight into their sound process. Add to that the alchemy of Jim O'Rourke's gradual entry into the core band which would soon be fully on display for SYR 3, and this series is an X-ray of evolution, dissection and reconstruction.

- Karen Dalton performance featuring seven never before heard songs - Limited pressing on Sky Blue colored vinyl - Old style, Tip-On Jacket, and 8pp heavy insert featuring a treasure trove of newly discovered photos, and a 6,000 word essay by Kris Needs // In 1962, Karen summoned Richard Tucker to join her in Colorado, extolling the healthier lifestyle, and plentiful gigs at Boulder folk club The Attic. Upon his arrival, the pair solidified their personal and professional relationship, riding horses in the mountains, and performing as a duo at parties and venues throughout Denver and Boulder. Stories of the spell they conjured - and rumours of tapes! - have circulated among friends and musicians who witnessed them, but until now, no recorded evidence had turned up. Shuckin' Sugar is the glorious result of three reel to reel tapes that miraculously found their way to us in November, 2018; which featured two complete shows from The Attic in January '63, and a benefit concert for The Congress of Racial Equality (CORE) recorded the following February. Their gigs would often include brief solo sets from Karen and Richard, in addition to the duets, and all seven solo songs of Karen's found on the three reels are included here, as well as five duets, sequenced as close to how it all went down as humanly possible. To describe the record would take a poet, but all I can say is that unveiling a missing chapter in the Karen Dalton story - with six songs we've never heard her sing before - is cause for celebration in Delmore's world.

20 mins+ EP on 10" vinyl (black), ltd. 400 copies. "The Underground Youth blend the sounds of shoegaze, post-punk and psychedelic rock with their own hauntingly beautiful twist." The Underground Youth is the name under which Manchester's underground poet, Craig Dyer, has produced his records since 2009. In 2011, Fuzz Club Records started putting out his prolific catalogue, bringing to light a number of LPs and singles that had only circulated virally on the Internet. Since then, The Underground Youth, with Craig and Olya Dyer as the core of the band, have expanded to a four piece, gaining a solid international fan-base and touring all around the UK and Europe. Gideon Coe has spinned their single "Juliette" on BBC6 and they took part to the "Reverb Conspiracy - Volune One", curated by Fuzz Club and Austin Psych Fest. In June, they rocked up the Eindhoven Psych Lab and they are set to headline Paris Psych Fest in July. Drown In Sound said of their Eindhoven set: "combining the mesmeric rhythms of The Velvet Underground - Olya Dyer's driving beats make her the new psych generation's Mo Tucker - with rippling feedback associated with Bad Moon Risingera Sonic Youth and a dash of the Mary Chain thrown in as well, they're a captivating force".

2025 Repress

With Moving Pressure 02, Rene Wise allows us to dip into a psychedelic undercurrent, yet maintaining a very grounded mentality. Its an effortlessly rolling type of minimalism, but lets be clear; its a type of minimalistic spirit backed up by a rich, kaleidoscopic sound design. MP02 is an immersive batch of mystical dance floor journeys which, in four steps, navigates the realms of gaseous sound design to more subaquatic dynamics, working with a palette of serpentine rhythms that pull us into his distinctive, subtly hypnotic world.

A1 Silo Cybin opens the release with the artists unmistakable kick drum pattern, the heartbeat of his sound. Theres a trippy, swampy energy here, enhanced by robotic vocals and broken claps that weave polyrhythms into the track. The minimalist core pulses with playful energy, while detailed textural elements softly emerge like a waves bubbling foam. Up next we have Complicated, which offers a more minimalist composition, yet injected with rich rhythmic structures. Small circular modulations swirl in the background, filling the air with a delicate yet persistent energy, while his signature vocal snippets further enhance the groove. On the B side, Rough Escorts taps into a brighter psychedelic dimension, conjuring the ethos and trademark of Moving Pressure as a whole. Listen closely a fine connection to Wises previous work on MP01 shines through, maintaining the sonic coherence of the project while pushing further into a lush space. B2 Bleep Police, dives into dystopian bleep territory. Here, the artist strips techno down to its essence, intertwining bleeps with percussion into a hyper rhythmic whole.

A living organism composed of intricately layered sonic structures. A variegated interplay of texture and rhythm. Multi dimensional sound. Welcome to Moving Pressure 02.

Super sweet sleepover core from the turn of the millennium. When not at the mall or elementary school, Jessica, Ayden, Janet, and Mary created a suburban Spice World all their own, singing, dancing, and making videos in anticipation of a global pop takeover. Summer 2000 expands their home-burned Y2K CD-R Stardust, encapsulating girl group R&B, trip hop, Eurofunk, and pool party heartbreak into a revealing portrait of millennial girlhood. Party til 2, sleep til 1, come on baby let's have some fun.

Infinite Fog are delighted to present another piece of the intriguing COIL puzzle. In the mid 1990s the core team of John Balance and Peter Christopherson were continuing their exploration of the outer reaches of electronic sound production as exemplified by the "Born Again Pagans" release, originally an EP only, featuring both the hugely danceable "Protection" smash which had Danny Hyde's influence writ in large letters all over it, as well as the first outings of their intriguing more ambient/glitch-based ElpH material, probably their most haunting and haunted works. This new 3LP anthology re-edition collects all of the ElpH material which didn't appear on their later "Worship the Glitch" album, namely the pHILM #1 10", a host of very rare compilation tracks as well as a number of at the time unreleased pieces in the same vein. The stunningly presented release also features the ElpH entity's last ever appearance originally available as part of raster noton's award winning 20' to 2000 series of releases, the "Zwölf" EP.

All the material has been lovingly remastered by Jessica Thompson with re-imagined design-work by Oleg Galay and including a replica of the original St. Sebastian on acid poster.

Black Truffle is thrilled to begin 2025 with a rare solo release from Konrad Sprenger, alias of elusive Berlin composer-producer-instrument builder Jörg Hiller. A prolific collaborator, Sprenger has worked extensively with icons of American minimalism such as Ellen Fullman (with whom her recorded the gloriously eccentric song album Ort) and Arnold Dreyblatt (as a core member of the Orchestra of Excited Strings since 2009), as well as releasing their music on his impeccably curated label, Choose. As an instrument builder and installation artist, he has overseen the creation of a computer-controlled multi-channel electric guitar and, with Phillip Sollmann, a modular pipe organ system designed to be reconfigured from space to space.

In much of Hiller’s work, a scientific approach to acoustic phenomena co-exists with a pop sensibility and a sly sense of humour. Nowhere is this unique combination more in evidence than in his slim body of solo work, beginning with the startling diversity of instrumentation and compositional approaches heard on the short pieces of Miniaturen (2006) and Versprochen (2009), followed by the more single-minded exploration of the computer-controlled electric guitar on Stack Music (2017). Set brings together these various strands of Sprenger’s work into a wildly infectious, playful epic, performed by the composer and the mysterious Ensemble Risonanze Moderne. On the LP’s second side, we are also treated to a guest appearance from longtime collaborator Oren Ambarchi, on whose recent solo releases Simian Angel and Shebang Sprenger has made key production contributions. Ambarchi’s signature stuttering, swirling harmonics weave through a sparkling assemblage of electric guitars, acoustic instruments, percussion and electronics—though, given the deft use that much of Sprenger’s recent production work makes of midi-controlled sampled instrumentation, it’s anyone’s guess where the acoustic ends and the digital begins here.

As soon as the needle drops on the first side, we are inside a musical world that Set will inhabit for its 33 minutes: sparkling guitar harmonics and palm-muted notes, tuned percussion, crisp electronic drum hits, flashes of horns, and untraceable bursts of synthetic sound are arranged into a skittering polyrhythmic framework calling up the detail-rich percussive constructions of contemporary techno filtered through the pointillism of the post-serialist European avant-garde. Behind this shifting mist of particulate sound, winds and strings sound out held chords, reminiscent of Arthur Russell’s Tower of Meaning in their epic yet seemingly aimless drift. The relationship between elements is mysterious, appearing both carefully considered and almost random. Though never straying too far from where it begins, as the piece moves along, it spotlights increasingly bizarre instrument choices (shakuhachi and steel drums, anyone?) as well as momentary liftoffs into motorik propulsion. Set is a fascinating, mercurial thing: at once propulsive and fragmented, essentially static in form yet ever-changing in detail, unabashedly egghead in its construction yet sure to get the feet tapping.

Sub Pop and Pissed Jeans mark 15 years of King of Jeans, Pissed Jeans' thunderous third album, with a fresh clear-vinyl pressing, limited to 1,000 copies. If 2005's Shallow was Pissed Jeans coping with moving out of their parents' homes, and 2007's Hope for Men their initial reaction to the mechanical lifestyle of a wage-earner, King of Jeans is their formal and uneasy acceptance of adulthood, by way of one hell of a rock record. Working with renowned producer Alex Newport (who holds a Fudge Tunnel pedigree and has worked with such luminaries as At the Drive-In, The Locust and Sepultura), Pissed Jeans have pushed further into the raw, minimal core of heavy rock music with King of Jeans. Masters of the mundane, beasts of the banal, high priests of the humdrum: these four, white, male high school graduates hardly look further than their own appendages for artistic inspiration, content to execute their own brand of brash and heavy punk music in the Joe Carducci-approved standard rock formation of guitar, bass, drums and vocals. From simple minds and simple fabrics comes this King of Jeans. And there can be only one.

The SteelDrivers are more than the launching pad of Chris Stapleton’s career and the home-base to the multi-talented musician and songwriter Tammy Rogers. They’re an ever-evolving group of seasoned veterans who have reinvigorated bluegrass by mixing in their individual influences and histories. Stirring Southern soul, Nashville country, deep blues, and wooden-church gospel into bluegrass, The SteelDrivers created a hybrid old as the hills and fresh as morning dew. Or, as a slack-jawed Vince Gill described their sound more directly, “an incredible combination.” Over the past 20 years, The SteelDrivers have become one of the biggest names in progressive bluegrass. After four Grammy nominations, the Americana Music Association’s New Artist of the Year and IBMA’s 2009 Emerging Artist of The Year, The Muscle Shoals Recordings took them to the next level, winning the band their first Grammy Award and landing them another #1 Bluegrass album. In every way, The Muscle Shoals Recordings was a major step forward for the group. Former bandmember Chris Stapleton contributed a new song, “Drinkin’ Alone,” and longtime fan Jason Isbell shows up on a few tracks as co-producer and guitarist. The core of the SteelDrivers stepped up as well, with even richer and more evocative songs and performances that cut deeper than ever. It sounds like an album that should have always existed on vinyl but somehow never was. Until now. Vinyl debut of the Billboard #1 Bluegrass Album & Best Bluegrass Album Grammy winner Featuring production & guitar by Jason Isbell Includes "Drinkin' Alone," written by former SteelDriver Chris Stapleton "Their playing is magnetic" —NPR "The group has rarely sounded more focused or passionate

In 2019, Resistencia Sonora was launched as a collaborative project where urban resistances and ethnic-peasant rural resistances converge in the greater area of Montes de Maria, situated in Colombia's western Caribbean region. This initiative originates in one of the musical epicenters of ancestral sounds that have fostered a now global recognition for styles such as gaita, cumbia, bullerengue, son palenque and son de negro, as well as Sabanero accordion music like porros and pajaritos.

The aim of this extensive project has been to serve as a rare living archive of festive gatherings, conversations, knowledge exchange, and co-creative processes that have spawned specifically from the municipality of Ovejas, which sits in the Sucre Department of Montes de Maria. Resistencia Sonora's documentation in Ovejas is more than just a musical recording, rather an all-encompassing snapshot of a very real folkloric life within neighborhoods such as El Bolsillo, El Corea and La Ciudadela. The initial inspiration of the project can be credited to a specific call to arms from composer Andrés Narváez, who expressed the dream to record his own original compositions set amongst this region's local history. Andrés, like many leaders from the old sabanas beyond Montes de Maria, is a social leader and land-rights activist. He proposed not only to record his songs but also to invite other musicians and composers to take part in this documentation, an extended hand to uphold the legacies, knowledge, and traditions of the region's elders.

All songs recorded between 2022-23 on location in Ovejas and Bogotá, Colombia. Mixed in Brooklyn by Names You Can Trust and mastered by Frank Meritt at The Carvery, London. Limited Edition 250 vinyl press with included 12-page booklet and liner notes in English and Spanish.

Originally release in March 2009, Midle Cyclone is repressed for 2025. 'Middle Cyclone' was produced by Case with Darryl Neudorf and recorded in Tucson, Brooklyn, Toronto, and Vermont. It features Case backed by her core band - guitarist Paul Rigby, bassist Tom V. Ray, backing vocalist Kelly Hogan, multi-instrumentalist Jon Rauhouse, and drummer Barry Mirochnick - along with numerous guests including M. Ward, Garth Hudson, Sarah Harmer, and members of The New Pornographers, Los Lobos, Calexico, The Sadies, Visqueen, The Lilys, and Giant Sand, among others. In addition to twelve new songs written by Case, 'Middle Cyclone' includes covers of "Never Turn Your Back on Mother Earth" by Sparks, and "Don't Forget Me" by Harry Nilsson.

In 2006, SPIN Magazine called Case "one of pop music's best" voices, and Interview Magazine hailed her album 'Fox Confessor Brings The Flood' as "one of the most original, beguiling, honest records of the year." The album also earned Case Female Artist of the Year honors from the PLUG Independent Music Awards, and a Top 10 placement in the Village Voice's annual Pazz and Jop Critics Poll of the year's best releases. 'Fox Confessor' was Case's first album to debut in the Billboard Top 100, and has sold nearly 200,000 copies in the U.S. alone.

Erste Vinylveröffentlichung des Debütalbums von DEADSOUL TRIBE -feat.

Devon Graves (aka. Buddy Lackey) von PSYCHOTIC WALTZ -epischer Prog Metal für Fans von PSYCHOTIC WALTZ -für Vinyl gemastert, mit bedrucktem Einleger – Limitert auf 300 Exemplare Als sich die wahrlich einmalige Band PSYCHOTIC WALTZ 1997 auflöste, klaffte eine Lücke, die erst mit der Gründung von DEADSOUL TRIBE im Jahr 2001 wieder geschlossen werden konnte. Sänger, Flötist und Aushängeschild Devon Graves, auch als Buddy Lackey bekannt, war in der Zwischenzeit wegen einer Beziehung nach Wien gezogen, wo er dann auch geeignete Musiker für DEADSOUL TRIBE fand.

Auf dem Debüt „Deadsoul Tribe“ spielte Davon Graves noch einige Instrumente selbst, aber man war bereits eine Band mit vier Mitgliedern. Auch wenn sich der Stil in manchen Punkten von PSYCHOTIC WALTZ unterscheiden mag, ist die Zielgruppe automatisch definiert. Und sogar etwas erweitert, denn neben Metal und Prog kann man auch Einflüsse von Tool heraushören. Das sehr organisch klingende Album bekam sehr gute Kritiken und wurde von den Fans ohne Umwege angenommen. Im Anschluss spielte man auf dem Prog Power Europe Festival in Holland. Es ist erstaunlich, dass die Alben von DEADSOUL TRIBE bisher noch nicht als Vinyl veröffentlicht wurden, zumal der Katalog von PSYCHOTIC WALTZ 2024 eine neue Aufarbeitung bekommen hat (Inside Out/Sony Music). Golden Core schließen diese Lücke nun mit den ersten beiden Alben, natürlich gemastert für Vinyl und mit bedrucktem Einleger. Die LPs sind auf 300 Stück limitiert, die sicherlich schnell ausverkauft sein werden

Zel Zele are thrilled to announce the debut album of silhouwaves. "ripples" is a solo project of London based Turkish multi-instrumentalist and producer Bora Dayanikli. Ripples is a DIY, guitar led album performed using a combination of pedals, drum samples and Bora"s elevating poetic vocals. At its core silhouwaves loops his guitar into infinity and creates a sentimental space echoing the mysteries of space and time. Ripples is inspired by 70s kraut, prog and psychedelic music. There are surprising eastern riffs throughout the album with kozmiche effects. Loops to ponder, edgy drum samples and perfectly produced modern vocal lines bring in a wow factor to the album. It feels like an old recording with a modern vocal edge.

Fünf Kultalben als Vinylboxset -alle LPs mit bedrucktem Inlay und speziellen Vinylmastering -Heavy Metal aus Deutschland, aus den „goldenen Achtzigern“ - Death Warrant und Exploder sind heute im Original nicht unter 100 Euro zu bekommen Die Achtzigerjahre gelten als die innovative Hochphase des Heavy Metal und während England die New Wave Of British Heavy Metal auf den Weg brachte, bauten die deutschen Bands auf die ersten Helden wie Scorpions oder Accept auf.

DEATH WARRANT und CUTTY SARK waren frühe Bands in diesem Segment und liefern auf ihren Alben diese nicht wiederholbare Aufbruchstimmung. EXPLODER, SUDDEN DEATH und MYSTERY veröffentlichten ihre LPs in der zweiten Hälfte der Achtziger und zeigen, wie divers, aber auch gefestigt der „German Metal“ hier bereits war. Die fünf Schallplatten kommen im vollen Golden Core-Umfang: Mit bedrucktem Einleger und mit einem speziellen Mastering. Zudem wurden alle Alben von Andreas „Neudi“ Neuderth sorgfältig remastert.

Als Einzelveröffentlichungen haben die LPs in den relevanten Magazinen durchweg sehr gute Kritiken bekommen. Über Exploder gab es zudem ein Feature im Deaf Forever.

Sourcing rare records to reissue can involve meticulous research and years of digging, but then occasionally, Lady Luck smiles upon you. We probably would have never heard of the Medium Wave Band if Gary from Mr Bongo hadn't known Wolverhampton-based record dealer, Steve Ward. Whilst offering Gary some records for sale, he remembered he had a spare copy of an old 7" single that he thought Gary might like. Steve didn't know much about the release, and it had never sold on Discogs. Looking at the record itself, it was minimalist in appearance and information, there wasn't much to go on other than that it was from the Birmingham area. The mystery drew us in…

The A-side, 'So Tender’, is a late-night, jazzy slow-jam, with beautifully sultry, soulful female vocals which sounded vaguely familiar. On listening to the B side, 'Games (Instrumental)’, you are rewarded with a superb example of Britfunk / independent UK jazz-funk. The pulsating, bass-led dancefloor groove and sensibility is a sound reminiscent of productions usually found on labels such as Elite, but the 7” was not released on a label, it was a private press by the band themselves. So who are the enigmatic The Medium Wave Band?

After some fruitful internet digging and correspondence, we got the answers. The band lineup featured Elliot Browne on guitar (lead & rhythm), Ron Lyseight on guitar (rhythm), Andrew Proverbs on keyboards, Tony Peart on drums, Paul Snook on bass, Linton Levy on saxophone, and surprisingly, the beautiful vocals we had been enjoying were those of Jackie Graham, aka the hugely successful UK vocalist, Jaki Graham. Maybe best known for her pop hit with David Grant, 'Could It Be I'm Falling In Love', but also featuring on the cult classic track 'Fire In My Heart' by Escape From New York.

Influenced by artists and bands including George Benson, Ronnie Laws, Weather Report, George Duke, Azimuth and Chick Corea to name a few, the guys booked into a studio near the Botanical Gardens in Birmingham and recorded the two tracks that make up this 7”. Only 200 copies of the original 7" were ever pressed and were sold mostly in Birmingham at Summit Records by the band’s friend DJ Frenchi, as well as at live shows. Despite its limited distribution channels, the record received solid support from fans and those in the music industry, including Morgan Khan of the influential record label, Street Sounds. DJ and journalist, Lindsay Wesker, reviewed the release and this led to the band travelling to London for several radio interviews. They played live shows across the country, including at the prestigious Ronnie Scott's in London, and supported both Shakatak and Weapon of Peace in Birmingham.

Thanks to all those involved bringing this release into fruition and for solving the mystery behind a wonderful Britfunk and UK soul record that could have otherwise been lost in the mists of time.

INTEGRAL RECORDS—SEVENTEEN YEARS OF FORWARD THINKING D&B

London, August 2024 ––Integral Records, a leading independent record label synonymous with forward
thinking Drum & Bass music is announcing ‘Seventeen’ ––a new Various Artists LP in celebration of 17 years.

Fast approaching their second decade in the business of DNB, Integral Records has left an indelible mark on the underground scene, consistently delivering quality releases that continually push the boundaries of drum and bass music.

Since its inception in 2007, the label has been at the forefront of innovation within the underground scene globally, and is renowned for continually discovering, nurturing and developing exceptional talent; breaking a number of new artists through its 17-year journey.

Consistently delivering high-quality music with crossover radio appeal and with a consistent release schedule maintaining quality over quantity and dedicated to keeping the vinyl community alive.

Founded by the visionary Artificial Intelligence back in 2007 and with Emma G at the helm over the past decade, the label has remained dedicated to its core values of musical integrity, cutting edge sound

With a back catalogue of who’s who in the soulful world of the spectrum; the archive includes the likes of
Calibre, DRS, Alix Perez and Lenzman; more recently, Dawn Wall, Mohican Sun, Satl and currently the new
wave of D&B’s rising stars––Thread, TZ and Tatora to name a few.

Seventeen – the LP will showcase 8 tracks carefully curated from the label's impressive camp
of talent, capturing the essence of the Integral Records sound––featuring legendary artists and rising stars alike. Track features will include (in alphabetical order) Artificial Intelligence, Lenzman, Phil Tangent, Redeyes, Satl, Steo, Tatora, Thread, and Zero T and more.

From soulful liquid future classics to heavier-hitting tech rollers and everything in between, this compilation encapsulates the diverse and ever-evolving nature of Drum & Bass that will always remain dear and will certainly never die.

Ghost Alive was the sixth album released by the Boxer Rebellion and is reissued on limited coloured vinyl pressing as part of a reissue series across their entire album catalogue.

An album born of hope through heartache, ‘Ghost Alive’ is the band’s most personal and human record to date. Exploring the darker corners of love, loss, and grief while shining a light on shared human experience, the album leans on the London four-piece’s more cinematic elements for a gloriously widescreen journey. Stripping away any excess, this album showcases the bare bones of opulent songwriting that lays at the core of The Boxer Rebellion. Rather than being crushed under the weight of melancholia, ‘Ghost Alive’ is 11 tracks that breathe with an understanding and experience. Bracingly vulnerable and achingly real, it’s a tender triumph from a band whose prime shows no signs of fading.

The band now have an eponymous EP, six studio albums, Exits (2005), Union (2009), The Cold Still (2011), Promises (2013), Ocean by Ocean (2016) and Ghost Alive (2018), as well as a compilation album, B-Sides & Rarities Collection, Vol. 1 & 2 (2012).

Emilia Sisco's debut album on Timmion Records, "Introducing Emilia Sisco", takes you on a smooth ride in the world of vintage soul, featuring 10 beautifully crafted original songs written by Sisco in collaboration with the renowned Cold Diamond & Mink band. The album showcases this young talent's unique ability to blend classic soul influences with contemporary flair, building mesmerizing harmonies by layering her voice, and through these channeling a sound that is both timeless and fresh. From the opening track "Say Yes" - grooving like an independent gospel soul jam that somebody discovered in dank Midwest cellar - to the closing "Secretly," each song is a testament to Sisco's deep connection to the emotional core of soul music. As one of the album's highlights, "Don't Let Nobody," stands out as a sweet anthem of love and encouragement for your fellow human. With its heartfelt lyrics and Sisco's gently floating vocal performance, the song displays the essence of the album_soulful, sincere, and deeply moving. The Cold Diamond & Mink band provides lush, downtempo arrangements throughout the record, perfectly complementing Sisco's voice and bringing her compositions to life with a rich, organic sound. In "Introducing Emilia Sisco" the singer's signature style of downtempo soul shines brightly, offering listeners a blend of introspective ballads and uplifting grooves. After her string of exquisite and well-received singles on Timmion, this album documents the impressive progress of a formidable new voice, one that is sure to resonate with fans of classic and contemporary soul alike.

Will probably ship earlier than the 14th. Up until Raising Hell, the rap juggernaut we know as Run-DMC was still in its building and breaking-down- doors phase. In 1986 that changed, and in a dramatic way. With their third long-player, the group had reached the mountaintop. It was THE record that proved hip-hop wasn't a fad. Raising Hell marked an important and significant new era for the group. Leaving producer Larry Smith for up-and- coming sonic innovator Rick Rubin (still co-produced by Run's brother Russell Simmons), they began to fully transition not only their own sound, but the sound of the entire genre. Less live playing - with some exceptions - and a slicker, tighter sonic attack. Musical aesthetics aside, though, at their core they stayed true to the essence of hip-hop: two turntables and a microphone, or two. It's impossible to talk about the album without its worldwide smash, 'Walk This Way,' which hit #4 on the Billboard pop charts and saw the group digging in the rock crates to summon Aerosmith in the flesh, combining Steven Tyler's and Joe Perry's musicianship with the group's own take on the '70s classic. The song's video cemented Run-DMC as legit MTV idols, and both groups rode its wave to new heights. Beyond 'Walk This Way,' the platter is full to the hilt with undeniable classic singles: 'You Be Illin''; 'It's Tricky'; 'Peter Piper' and the fashion-world shifting 'My Adidas.' Each song was new proof that Run-DMC's sound was indeed new, but still familiar, and full of the energy, charisma and innovation that drew fans to their first two LPs. Aside from the singles, the reason the album stands up so well is the fact that there is virtually no filler. 'Proud To Be Black' remains a pioneering and underrated cut when people talk about 'conscious' hip-hop. And to make sure they never lost the streets that gave them their start, 'Hit It Run,' 'Son Of Byford,' 'Is It Live' and 'Perfection' all bring it back to the group's early days in the park. Besides the triple platinum status the album achieved, it was more than just a pop smash. It signaled a new era for rap music, and it was

the no-turning- back point for the entire genre. This was the beginning of what we now call the Golden Era, and it still sounds as fresh today as it did three decades ago.

Scions are a new innovative experimental ensemble. The group features members from the award-winning minimalist chamber-jazz quartet New Hermitage, the Polaris-nominated drone-hymn duo Joyful Joyful, and the acclaimed producer and composer Michael Cloud Duguay. Their collaboration began at the Sappyfest music festival in Sackville, New Brunswick, in August 2022. During this event, New Hermitage and Joyful Joyful connected for the first time and teamed up with Duguay for a spontaneous improvisational performance based on his song writing. The enthusiastic response, capped by a standing ovation, solidified the ensemble's decision to pursue the project further, with Duguay deftly shifting from front-person to producer and musical director. After being awarded a Canada Council project grant in early 2023 the group took residence in Hotel Wolfe Island on Wolfe Island. Over a week the seven core members lived and worked together, culling material from sunrise improv sessions and collaboratively shaping it into a unique body of work that would later become To Cry Out In The Wilderness. In June 2023, the ensemble, now joined by double bassist Gabriella Ciurcovich, recorded their debut album in Halifax’s north end. Led by Duguay’s distinctive approach to site-specific production, the recording took place in the sanctuary of St. George’s Round Church, with engineering by Jake Nicoll, known for his sustainable recording methods using a solar-powered, mobile control room. The resulting album, To Cry Out In The Wilderness, finds the ensemble expertly exploring and powerfully combining their skills in jazz, devotional, classical, drone, folk, ambient, metal, improvisational, minimalist and avant-garde music. The project culminated in a week of production, with contributions from numerous artists from Halifax’s creative music community. Scions then presented their work live, performing on the opening night of Halifax’s Everyseeker festival of experimental music, where they shared the spotlight with the renowned Sun Ra Arkestra. Speaking on the narrative of To Cry Out In The Wilderness vocalist and lyricist Cormac Culkeen said: "When we came together to make this body of work, we started from a narrative seed; a post-apocalyptic humanity relearning and recreating itself, after a total ecological collapse." Speaking on "Fight Song" they add, "“Fight Song” became the song we thought the last of us might need. It is sung for an imagined last stand. It is a rallying cry to wholeheartedly fight a losing battle. So it is for us now, in this time of great dismay and unease. The axe must be disobeyed.

Da Beatminerz defined the dark, gritty sound of underground Hip-Hop in the '90s. Formed in 1992 by brothers Walter “Mr. Walt” and Ewart “DJ Evil Dee” Dewgarde, the production duo pioneered Hip-Hop's brooding vibes, a tonal shift that came with the release of Black Moon's classic debut album Enta Da Stage. As producers of the seminal 1993 project in its entirety, Da Beatminerz set a precedent for hardcore Hip-Hop.

Their sample-heavy, gutter tracks laced with heavy basslines, and hard kicks and snares helped reshape the music genre. Da Beatminerz continued to refine their distinct sound and identity with countless classic records for other artists and two albums of their own (2001’s Brace 4 Impak and 2004’s Fully Loaded w/ Statik) over the course of their illustrious 30-year career.

Stifled Creativity is the duo’s first full-length album in 20 years.

“We started working on this album in 2009... We had one focus and the focus was to stick to our core sound. We just wanted to bring back our traditional way of attempting a classic album. Everybody has their own type of hip hop that they love. Well, this is ours.” - Mr. Walt













m Adore HER (feat. Keith Murray)



q It’s All 4 U [REPRISE] (feat. Halley Hiatt & AZ)













[m] Adore [HER] (feat. Keith Murray)



[q] It’s All 4 U [REPRISE] (feat. Halley Hiatt & AZ)













[m] Adore [HER] (feat. Keith Murray)



[q] It’s All 4 U [REPRISE] (feat. Halley Hiatt & AZ)

"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. "

Pedro The Lion Covers “B” By Lync. Lync “B” Original Version On The Flip Side. One-Time Retail Pressing Limited To 450 Copies. Pressed On Opaque Purple Vinyl, Includes Download Coupon. The early ‘90s Olympia trio Lync harnessed the same raw energy and passionate discord of the era’s San Diego and DC chapters of post-hardcore while building their songs on the foundation of the Pacific Northwest indie rock scene’s clever hooks and sophisticated melodies. In celebration of the recent reissue of Lync’s sole LP, These Are Not Fall Colors, singer-songwriter David Bazan has re-envisioned the album opener “B” under his Pedro the Lion moniker, stripping away the celebratory distortion and riotous clamor of the original for a hushed acoustic rendition in line with Bazan’s most austere slow-core moments. Paired together as a 7” single on Suicide Squeeze Records, these two versions of “B” highlight the multifaceted power of the original song, with Pedro the Lion’s version elevating its fundamental melodic weight, idiosyncratic chord structure, and poetic power, and the original Lync version reminding us how their distinctive brand of expressive dissonance and adrenalized execution transformed their cerebral pop songs into jagged masterpieces of the post-Nevermind punk underground

First detected in the 1950s, Quasars remained a mystery for years with the massive amount of energy seeming to come from a very small area of space. Over time, astrophysicists theorised and proved that these celestial objects are black holes forming the centres of galaxies. For the latest Micron Audio release, 6SISS creates a sonic exploration of the many aspects of these gigantic cosmological bodies resulting in a collection of tracks that reflect their density, power, and luminosity. Each of the four tracks, QUASAR I-IV, represents a different phase of interaction with a quasar's energy, from initial observation to a final, euphoric absorption into the quasar's core: fizzing and enigmatic synths suggest the radio waves that travelled for thousands of years before being detected, while other bassier sounds bring to mind the vast gravitational pull of galactic centres, slowly attracting stars and planets alike towards them. As with all Micron Audio releases, QUASAR reveals a deep appreciation of scientific discovery and knowledge. Whilst avoiding retro-futuristic clich?, the imaginative abstract storytelling genre of electro is perfectly represented in this collection, in which 6SISS yet again emits his own densely packed work to emanate across the universe with a bold radiant energy.

Sweetheart is the first Cassie Ramone album in ten years, a crowning glory for a singular artist who has forged a unique path through the underground. Breaking out in the late 00s with the revered Vivian Girls, to her current status as a traveler on the
heartworn highway, Cassie Ramone has survived and thrived. Sweetheart is Ramone's greatest recorded statement to date:
focused songwriting shot through with American tragedies, distorted guitars and tear-stained fretboards. Recorded with
collaborator Dylan White in Richmond, VA in the latter's Valley Structures barn studio between December 2023 and March
2024, Sweetheart is Ramone's songwriting rendered direct but with a sweeping cinematic quality. Smeared with reverb and
scintillating like stars in the pitch black night, these songs fulfill the promise of Ramone's songwriting prowess.
Ranging from heart-stealers like I'm Going Home or Joy to the World to the riotous guitar scree of the titular Sweetheart,
Ramone's songwriting here is raw and direct, bolstered by White's perfectly balanced instrumentation. White's work on
Sweetheart blows up Ramone's songs to epic proportions, with waves of shoegazed guitars crashing and cresting with
emotion. As a result, Sweetheart fits effortlessly in with the best of Ramone's work with Vivian Girls and The Babies. With the
emotional vulnerability at its core, Sweetheart is Cassie Ramone emerging as one of the most honest and vital songwriters of
the underground.
Sweetheart, released on White and Ramone's new CD-R Records, builds on Cassie Ramone's legacy as a DIY pioneer. With Vivian Girls, Ramone and her bandmates forged a distinctive sound from 80s Punk, Shoegaze and 60s Girl Groups, delivering it with a dedication to world-building and Do It Yourself pragmatism. CD-Records and this first release are a continuation of Ramone's mission to maintain creative and aesthetic control over her art, communicating directly and honestly. Sweetheart may
also be the best record of her career.
Released on Cassie Ramone and Dylan White's label CD-R Records