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Music is storytelling, and some of the best stories have been told through centuries-old traditional folk songs. On their new album ‘Northern Sky’, The Wellermen have given this rich traditional musical history a new sound, hoping to continue to captivate millions of fans around the world. It helps that The Wellermen’s four members all bring their respective experience and perspectives to the table. The fact that they’re from different corners of the world really adds something to the music - there’s something romantic about the way the members have to go on a voyage to see each other.

The Wellermen’s history is well-known: having been the originators of the sea shanty trend on Tiktok, they’ve since gone from strength to strength, gaining a huge following across social media with new trends linked to their music. Their versions of ‘Misty Mountains’ and Ed Sheeran’s ‘Nancy Mulligan’, along with their spine-tingling rendition of ‘Hoist The Colours’ have racked up billions of views across Tiktok and youtube and over 110m streams of their debut album, and led them to appearances on shows like Ant and Dec, LAst Week Tonight with Jon Oliver, The Colbert Show and more.

The group have now returned with their new album ‘Northern Sky’, where they have gone above and beyond to show they are indeed masters of their craft. Recorded in a cottage in the picturesque hills of Surrey, they poured their considerable knowledge and prowess into the album’s 12 tracks, all of which fit their love of storytelling. On the Scottish folk song ‘Wild Mountain Thyme’, for example, the group’s harmonies and rich vocals capture the nostalgic, wistful nature of the song, which speaks of love and nature’s beauty. The group’s tribute to Johnny Cash on the song ‘Hurt’ is set to be a fan favourite - melding the raw and uninhibited torment of the original with the dignified but heart-rending grief of Cash’s version.

Elsewhere on the record the original song and title track ‘Northern Sky’ is a perfect demonstration of the Wellermen’s gift for creating a real dynamic, steering it gently from the darker, more ominous numbers into something truly uplifting. ‘Tall Tales’, another original, is a wonderful portrayal of humorous one-upmanship - a call-and-response that is likely to get crowds’ feet stomping and hands clapping. Say the Wellermen: “It’s all about connection and storytelling, and we hope the listeners are able to find something meaningful.” One thing is absolutely certain: these talented young men are in it for the long haul.

Music is storytelling, and some of the best stories have been told through centuries-old traditional folk songs. On their new album ‘Northern Sky’, The Wellermen have given this rich traditional musical history a new sound, hoping to continue to captivate millions of fans around the world. It helps that The Wellermen’s four members all bring their respective experience and perspectives to the table. The fact that they’re from different corners of the world really adds something to the music - there’s something romantic about the way the members have to go on a voyage to see each other.

The Wellermen’s history is well-known: having been the originators of the sea shanty trend on Tiktok, they’ve since gone from strength to strength, gaining a huge following across social media with new trends linked to their music. Their versions of ‘Misty Mountains’ and Ed Sheeran’s ‘Nancy Mulligan’, along with their spine-tingling rendition of ‘Hoist The Colours’ have racked up billions of views across Tiktok and youtube and over 110m streams of their debut album, and led them to appearances on shows like Ant and Dec, LAst Week Tonight with Jon Oliver, The Colbert Show and more.

The group have now returned with their new album ‘Northern Sky’, where they have gone above and beyond to show they are indeed masters of their craft. Recorded in a cottage in the picturesque hills of Surrey, they poured their considerable knowledge and prowess into the album’s 12 tracks, all of which fit their love of storytelling. On the Scottish folk song ‘Wild Mountain Thyme’, for example, the group’s harmonies and rich vocals capture the nostalgic, wistful nature of the song, which speaks of love and nature’s beauty. The group’s tribute to Johnny Cash on the song ‘Hurt’ is set to be a fan favourite - melding the raw and uninhibited torment of the original with the dignified but heart-rending grief of Cash’s version.

Elsewhere on the record the original song and title track ‘Northern Sky’ is a perfect demonstration of the Wellermen’s gift for creating a real dynamic, steering it gently from the darker, more ominous numbers into something truly uplifting. ‘Tall Tales’, another original, is a wonderful portrayal of humorous one-upmanship - a call-and-response that is likely to get crowds’ feet stomping and hands clapping. Say the Wellermen: “It’s all about connection and storytelling, and we hope the listeners are able to find something meaningful.” One thing is absolutely certain: these talented young men are in it for the long haul.

The second release on Between Stations (proceeding the «rst BETWEENTAPES release by DOOM TV), sees label head Cowper kicking off the «rst in the BETWEENEDITS series. Possessing atom-splitting heft at a tectonic pace, A1 writhes around on a French Kiss theme, tantalising FX swirls and thundering bass before sensual pads slowly begin to caress the central nervous system, taking us off into hypnotic revelry.

B1 grasps onto a swirling and mesmerising, opiated version of Larry Heard. A spine-tingling concoction of elements and drifting echoes transporting us to a blissful ocean, ebbing with the sonic currents in a suspended state of glee. B2 pulls on the space cord, bringing us back from our temporary drift with a slow and steady hand. This one lets the machines do the talking whilst we concentrate on keeping stable as the «nal remnants of euphoria are squeezed from our serotonin glands.

Dajusch unleashes the 'Ambition EP', a raw and uncompromising statement of techno tradition. Berlin-based producer, DJ and sound engineer Dajusch returns with his latest four-track EP, a high-powered offering that channels the essence of Detroit and Chicago techno while pushing the boundaries of contemporary club sound. Known for his deep connection to electronic music's pioneering roots and his work behind the scenes as a mastering engineer, Dajusch brings an intense and refined energy to this release. The EP opens with the single 'No Mas', a relentless percussive workout where hypnotic synths intertwine with driving drum patterns, setting the stage for an unyielding ride. The title track 'Ambition' follows suit with a high-octane groove, combining raw machine-funk aesthetics with a pulsating bassline and intricate, evolving textures that command the dance floor. On the flip side, 'Split' takes a darker and more cerebral turn, layering industrial-tinged sonics over a tight, rolling beat, blurring the line between peak-time energy and introspective depth. Closing out the EP is '36g', a heady, propulsive cut that builds into a whirlwind of syncopated rhythms and distorted stabs, rounding off the record with a powerful, no-holds-barred climax. With Ambition, the Spandau20 artist Dajusch reinforces his position as a purist and innovator, delivering a release that feels both timeless and forward-thinking. Whether experienced in the heart of a sweaty warehouse or through the pulse of a late-night drive, this EP stands as a testament to the raw, unfiltered power of techno.

A special ‘Submerge” 12” EP featuring a bunch of reworks of this pivotal track from Apta's forthcoming ‘The Pool’ album on Castles in Space.

Kicking things off, Apta's own rework of the original sees the shadowy textures and droning wall-of-sound backdrop turned into a static-strewn dreamland of a piece, underpinned by a flickering guitar riff, cracked snare drums and fuzzed-out Odyssey strokes before launching into the euphoric half-time vocal refrain.

The follow-up sees Clay Pipe boss, illustrator and musician step into her Hardy Tree guise for a beautifully hypnotic waft of wistful folk-tinged electronics and shimmering ambient textures. It's warmly nostalgic, and packed full of all the feel of a lovely Clay Pipe release.

Following on from that, modular wizard Polypores takes pieces of the original and stretches them into an organic swell of texture and movement, warping the low basses and flickering modular plinks (and / or plonks) into a beautiful, undulating wall.

Flip over and It's none other than the brilliant Pye Corner Audio, providing an organically blooming suite of saturated percussion and woozy drifting oscillators, in peak PCA fashion. There are few artists that can do as much as with little as Martin Jenkins can, and hearing his audio sunshine underpinning the vocal line is breathtaking.

It's good to get the ears nice and soothed too before the aural assault and hypnotic spirit-cleansing heft of the legendary Gnod. Dubby throbbing bass and cavernous reverb tear the original into shards and piece it together as a churning, industrial powerhouse before shooting the rest into the endless reaches of space.

Closing things out on a space theme is the ideal way to do things too, with Field Lines Cartographer's remix taking things waaay into the outer reaches. Grounding bass churns and stellar synth sweeps float below the modulated vocal line, resulting in a perfectly crafted drone, rich in melody but untethered to the earth.

LA-based band ASHRR picked up plenty of new fans with their recent Sunshine Low album and now they're back with the sixth single from it and it comes with some seriously heavyweight names on the remix. Chicago house pioneer Ron Trent does his thing to 'Please Don't Stop The Rain' by going super deep, spine tingling and heady with some lush arps and distant guitar twangs adding a Balearic feel. Dub treatments come from the Prescription boss himself, while ASHRR's alter ego, ASHRR Soundsystem, offer up an instrumental and a remix that lay down dubby house drums and lush chord work. This one keeps the summer vibes going well into winter.

The original track came back in February and proved an immediate hit. Next to the original, versions from the likes of DJ Spen & Gary Hudgins also helped make this a breakout tune in the first quarter of 2021. Now comes the turn of Kenny Dope, one half of Masters at Work, the most seminal house duo of all time. Kenny Dope is an obsessive record collector, studio wizard and all-round musical encyclopedia whose influence on the scene cannot be overstated. He has been involved with numerous projects, from The Bucketheads to running his Dopewax label and never fails to impress.

This new remix from the Brooklynite is a glorious one baked in the sun's warming rays. It's built on a loose, Latin-tinged beat with big chords, expressive xylophone stylings and plenty of irresistible syncopation. The buttery smooth vocals bring the soul up top and help make this a timeless tune that will unite all dance floors. An instrumental mix is also included that strips things back, shows off the track's effortless musicianship, and draws out the beats for extra dance floor impact.

These two vital versions are the sort of life-affirming, and feel-good house sounds the world is desperate to hear right now.

Major-label debut by You Me At Six, Hold Me Down, was released on Virgin Records in January 2010, after the success of their debut album Take Off Your Colours - Released on vinyl for the first time, hear the album that cemented their reputation pressed on high-quality 180g vinyl. Taking their name from an abbreviation of the time they would meet, You Me At Six were formed in Weybridge, Surrey in 2004 by vocalist Josh Franceschi, guitarists Max Helyer and Chris Miller, and bassist Matt Barnes. Drummer Dan Flint joined in 2007. They first broke through at 2007's Slam Dunk Festival with their brew of heavy, melodic, emo-tinged rock, and after two self-released singles, the band signed to Slam Dunk Records. By 2010, they had signed to Virgin. Working with producers John Mitchell and Matt O'Grady, the band crafted 12 new tunes for Hold Me Down, including the singles Kiss And Tell, Underdog and Liquid Confidence which won Best Single at the 2010 Kerrang! Awards. The album reached No 5 in the UK chart, and fully established them on the vibrant UK rock scene. With a stable line up since 2007, You Me At Six have become one of Britain's most-loved bands, and announced recently that they will be splitting up after playing the Slam Dunk Festival in 2025, with Franceschi stating "Let's have the opportunity to say goodbye properly, versus slipping out the back door."

Swedish veterans Gin Lady are back with another brilliant 70's infused classic rock/progressive album. It's their first for Ripple Music who are stoked beyond words in welcoming the band to the family!

The follow up release to last years Times & Places Volume 1, which sold out in super quick time has the same four artists, each bringing their own style of old skool rave goodness to the table.
Gridzone gets us off and running with beautiful pads and an oh so familiar soothing female vocal sample. But don’t let this fool you, the harsh amens are just round the corner and when they drop, you will know about it.
Midlife Crisis has similar energy levels in their offering, the breaks are more chopped and more in a jungle vein.
On the flip is the highlight of this EP. NewKiller drops a jungle-techno stormer. 4/4 kicks with high speed breaks, hoover sounds and horror film samples. Its like 1993 all over again. Finally the EP ends with a ragga tinged rudeboy of a stepper from Gold Soundz.

Bringing new life to the electrifying sounds of Peru’s golden era of cumbia, *CHICHA POR FAVOR Vol. 1 is a highly anticipated limited edition vinyl release, featuring 12 rare tracks from the historic El Volcan label, known for its groundbreaking cumbia in the highlands of Cusco, Peru. This curated collection, spanning the 1970s and 80s, delivers listeners an immersive sonic journey into the heart of Peru's tropical music heritage.

For vinyl collectors, cumbia enthusiasts, and aficionados of Latin American musical history, this album is a rare treasure, packaged with an exclusive insert detailing the cultural origins of each track and offering in-depth insights into the socio-musical evolution of Peruvian cumbia. This release is the inaugural volume of CHICHA POR FAVOR, a project aimed at preserving and celebrating the defining sounds of Peruvian tropical music.

The tracks featured in CHICHA POR FAVOR Vol. 1 offer a uniquely authentic perspective on Peruvian cumbia’s intricate layers, capturing the influence of coastal rhythms, Andean folklore, and Amazonian beats, fused with elements of rock and psychedelia. From the driving electric guitars of *Grupo Atlantic*’s “Danza Atlantic” to the lively, Amazonian-infused grooves of *Los Invasores* and *Los Tigres*, the album reflects a diversity of styles that arose during a transformative era in Peru’s music scene. Notably, the release revives the distinctive sound of *El Volcan* a Cusco-based label that became a beacon for cumbia in the Andes and beyond.

Peruvian tropical music emerged in the 1960s as a fusion of traditional Andean sounds with electric guitar-driven interpretations of Afro-Caribbean and American rock influences. The insert, included with each vinyl, presents a well-researched narrative of the genre’s genesis and evolution, from early instrumental adaptations of huayno rhythms to the psychedelic Amazonian sounds that became its signature.

This compilation is not only a celebration of Peru’s cultural legacy but also an educational experience, designed to give listeners a comprehensive understanding of the geographical, cultural, and musical landscapes that shaped this genre.

As Tele Novella, Chronis (who performs in the beloved and rekindled indie pop band Voxtrot) and Ribbons (who previously performed in the long-running “Victorian punk” project Agent Ribbons) have spent their past two albums creating "Medieval outsider country" on 2016’s House Of Souls and 2021’s Merlynn Belle. Poet’s Tooth – the band’s second album for Kill Rock Stars – steers the duo’s whimsical western-tinted quality into fascinating new directions: cinematic-pop balladry on the autoharp-tinged opener “Young & Free,” gently clip-clopping Americana-folk on “Hard-Hearted Way,” and bass-driven funk on the wry “Eggs In One Basket.” With help from producer Danny Reisch, Tele Novella have crafted their most genre-rich, poetic, and sincere album yet.

Beige Banquet's dark, brooding sophomore album Ornamental Hermit marks their first release as a full five-piece band. This high-powered record delves into nihilistic dark-punk and industrial-tinged post-punk, delivering an intense and experimental listen.

Nesa Azadikhah returns on Kulture Galerie with a 4 track EP on Filippo MSM’s cassette tape sub-label Digital Artefacts.

With “My Life” Nesa tells a personal story of influences and inspirations split in 4 parts / tracks. Each of the tracks is in fact named after who matters the most to the artist: her 2 dogs, her life partner and herself. Sonically the EP is a unique blend of music that Nesa loves and its hard to not fall in love with. The A side is very UK tinged Techno whilst the B side includes a slow chuggy Dark Disco track and a super trippy dub cut. Fall in love with Nesa's life.

Taking our time has become a sort of ESP modus operandi, often proving that when variables are left to cook long enough—relationships, styles, politics, moments in culture—we may collectively yield a more considered result. Once in a 'Blue Moon', we set sights on a record that conducts some strange voodoo, some rare combination of elements that commands our entire being. Entering our atmosphere with a concise 6-track debut, dub technician Brendon Moeller has brought us exactly that. Although we’ve long been admirers Brendon’s work, separated by only a few degrees—he and ESP’s Lovefingers are the same age and shared a decade of salad days in New York City—it took another decade before enough courage was mustered to suggest we actually work together. Our reticence has seen Brendon’s aesthetic and palette evolve over the years, and the label has simultaneously sculpted a tone of its own, but now we’re more than proud to finally marry his highly refined output with our, let’s say, “deliberate” appetite. 'Blue Moon' touches everywhere Brendon has been as an artist—from the obtuse corners of ambient to IDM, dub techno to liquid drones and bass—yet the vocabulary is honed and succinct, relying on a very intentional handful of expressions. This is almost an exercise in restraint, all 6 tracks are delivered from a disciplined and committed point-of-view, but what we find most captivating is the exploration that this allows in terms of depth, texture, fluidity and pacing. There is a complexity hidden in plain sight that begs to be studied, a comfort that allows us to slip inside like a warm bath, an addictive tingling sensation that we must prolong indefinitely. Even as we write this testimonial, the album is going on a fourth repeat and we languish the intervening silence between tracks. This is being under the spell of Brendon’s 'Blue Moon'.

“Empathogen is the sixth studio album from WILLOW. This release sees WILLOW moving in a new alternative & jazz tinged direction following her widely praised 2022 release COPING MECHANISM. The album includes features from Jon Batiste and St. Vincent.”

The great deep house maestro Alton Miller is one of the most underrated names in the game if you ask us. The long-time innovator still turns out supremely designed sounds as this one on Mister Bear evidences. 'Afrika Alright' opens with smoky, soulful vocals and lovely flute melodies next to wispy synth explorations, 'Dub Afrika' pads it out with some extra pillowy low ends, then 'Hang On' brings some bright xylophone melodies and jumbled percussion to a more Afro tinged house shuffler. Last of all is 'Super Hero' with its whimsical synth leads and interesting sound designs adding rich detail to a dusty deep house groove. Timeless stuff as always from Miller.

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.

For ALT014, Altered Circuits presents its first Various Artists release. In addition to the label's co-founder, three friends of the label appear on this heterogeneous, club-oriented 12''. Portal, with its breakbeat layered drum section and spartan bass hook, sounds like classic Innershades from the start. When the angular leads and slowly phased, ominous chords hit, we are reminded of the artist's fondness for the new beat genre and his ability to translate its tropes and conventions to the present. On Show You Love, Mr. Ho combines skippy two-step drums with an MS20 type of flat bass. After introducing a one-bar mid-bass arpeggiator, gently swelling pads, leisurely spread side riffs and reverb-drenched musings join, calibrating the vibe to lush and groovy. On the other side, Oshana treats groove as the focal point with her Hey Kiss Kiss contribution. Over its 6-minute course, the snappy 909 kick rarely relents while a bunch of often short, many a time looped sequences emerge and disappear, unfolding a hypnotic tapestry of textures. Rising talent Salomee closes the VA with Late Night Summer, a track capable of setting the floor in motion at any moment. It revolves around a portamento-heavy, neon-tinged lead that lingers long after the track ends and a sturdy, efficient one-note bass pulse.

On December 6, 2024, Randomer will return with a new EP titled MTY-012: Everything Happens for No Reason, released via Anetha’s label, Mama Told Ya.

After a reflective hiatus, the UK prodigy is highly anticipated and ready to deliver meaningful music. The EP features five emotionally charged tracks—four produced by Randomer and one co-produced by Randomer and Anetha. Presented on a single vinyl, the release conveys a deeper message: life’s unpredictability can be embraced, reminding us that we can find our way even in chaos and randomness.

Torn between the meaningful and the meaningless, Randomer channeled his time into crafting music shaped by his extensive study of melodies, subconsciously

seeking to bring harmony to the world. The result is a cathartic journey across five tracks, each evoking a broad spectrum of emotions and inviting listeners to explore the depth of their feelings. Drawing from the music that deeply influenced him, Randomer traverses various genres and moods, seamlessly blending techno, trance, techstep, and sacred choral music in a perpetual act of personal reinvention.

Let the choir sing I Saw the World Melt (A1) right before my eyes, and let the people chant my melancholic melody. Nervous Breakdown. Lost in the riffs with dis ting from London, DHM Jam (A2) fuels me with adrenaline, I’m flying through memories, urged to move on. Yet, I’m still trapped : the clock shows Home Invasion (A3)—better start running. We will survive. But where’s my harmony? I Can’t Believe (B1) it. Why me? Why us? In this trance state of mind, I have so many questions, but those voices on the other side won’t answer. We’re doomed anyway, so why not plug in like the Two Perfect Machines (B2) we are, until the end.

For this new EP, Australian visual artist Nic Hamilton has been commissioned to create a poignant artwork alongside two melting teasers for MTY-012. As always, the design is expertly crafted by Diplomatie Studio, while the mastering is entrusted to Six Bit Deep, ensuring a polished and immersive listening experience.

***Limited edition with clear vinyl, white inners, printed centre labels and holographic sticker on B-, D- and F-side*** Nous'klaer Audio proudly presents Paerels III (aka Pearls 3), the third and final edition of its beloved 3x12'' compilation series. This release brings together a refreshing splash of sounds, unbound by genre, blending deep-listening pieces with driving techno, rave-tinged house, and a few playful surprises. Contributions come from both familiar faces and new voices on the label, with some tracks pulled from the archives and others fresh out of the studio - curated by label-head Oberman. Featuring artists like Megan Leber, Mattheis with a remix from Pye Corner Audio, Marie K, Mattias El Mansouri, Cooper Saver, Kems Kriol, Martinou, Human Space Machine, Koraal, Eversines, Erik Luebs, Mathilde Nobel with an Oceanic remix, Mary Lake, and lastly Gotu Jim. A1. Megan Leber - Tides A2. Mattheis - Swell (Pye Corner Audio Remix) A3. Marie K - Silver Lining B1. Mattias El Mansouri - Transcendence B2. Cooper Saver - Cloudburst C1. Kems Kriol - Blimund C2. Martinou - Glider D1. Human Space Machine - Second D2. Koraal - This One E1. Eversines - Rhapsodia E2. Erik Luebs - Toward Entropy F1. Mathilde Nobel - May + Be (Oceanic Remix) F2. Mary Lake - Evergloom F3. Gotu Jim - De Last

Warehouse Find!

Detroit Swindle continue their incredible run of form with a cracking new EP for for their Freerange follow up, suitably entitled Unfinished Business. It's pretty fair to say that the Dutch duos 2012 Freerange debut helped cement their reputation as one of the most exciting young house music acts to emerge in recent years. Their relentless tour schedule and stream of quality EP's for the likes of Tsuba, Dirt Crew and their own fledgling label Heist are testament to their success. Remixes for the likes of Waze & Odyssee, Sowar and Medlar all did the damage as did their immense Boiler Room takeover session which sealed the deal for any skeptics. Turning to the fresh stuff, we see DS delivering three brand new originals plus we have a hard as nails (by our standards anyway!) remix from the enigmatic Crue.

Title track Unfinished Business sets the tone with a driving, shuffling, tech tinged beauty loaded with their trademark cut-up, MAW style vox samples.

Under The Spell drops next with a more low slung groove, rhodes stabs and breakdowns that are tried and tested for maximum dancefloor pleasure.

The B1 sees Crue step up for his hard hitting remix which brings a darker, raw edge to the EP with a bad boy basement feel and garage swing bringing some peaktime intensity.

Finally we close the EP with Woman, a track that's probably about as close as the DS boys get to a smooching torch song. Lush pads and strings bring a deeper vibe to proceedings but the female spoken word samples keep the energy high and ensure things never stray too far from the floor.

Transparent Curacao Vinyl. Award-winning composer for video games and Scottish artist, Barry "Epoch" Topping (PARADISE KILLER, SENTRY, THATCHER'S TECHBASE, ENCOUNTERS) returns with "The Needs", 11 songs of lavish reflection in a modern city pop style. The album takes the listener through an emotional exploration of identity and change set against the backdrop of late summer. It fuses city pop, rock and dance music into a rich, dreamy blast of video game-tinged modern pop music. But "The Needs" is more than just an album title, like Barry explains: "It's a new ensemble built around a core of the musicians that worked with me on Paradise Killer: Fiona Lynch, Fabian Hernandez, Thomas Temple and Kyle Murray-Dickson. A new trio of horns Elin Andersson, Nicklas Dahlin and Simon Fransman round out the full lineup. Having such talented musicians involved in a much bigger way has allowed us to challenge ourselves and make the best, most over the top music we've made yet. 'The Needs' was created as a vehicle for my own reflections and is intended to help listeners reflect and find solace too. No album can be universal but if 'The Needs' can help people feel seen or understood then I'll feel like it's been a success. Getting to make the album has been an extremely rewarding experience."

How did Dexter make a TV audience sympathize with a serial killer? No question, it took an ingenious premise, great writing, great direction…and a stellar ensemble cast headed by lead actor Michael C. Hall. But long-time viewers of the show know there was another “character” that played a huge role in the series: the soundtrack. From Rolfe Kent’s unforgettable title theme to the well-chosen Latin-tinged tunes that fit the Miami setting to composer Daniel Licht’s brilliant themes, the score of Dexter commented on the action even as it amplified its emotional power. Special mention must be made of the late Licht’s work, which employed Latin and electronic elements to portray Dexter’s warm and cold sides; among the favorites here are “Astor’s Birthday Party” and the haunting “Blood Theme” that played over the credits in every episode. In 2007, the Milan label put out a CD and a truncated single-LP soundtrack album containing music from the first season; now, for the first time, we at Real Gone Music are offering all of the music that appeared on the CD in an expanded double-LP edition, pressed on blood with white swirl vinyl and housed inside an appropriately gory gatefold. Don’t miss Michael C. Hall’s spoken word pieces, either…perversely pleasurable listening, limited to 1500 copies!

Bass music OG Jeremy Sylvester returns to Shall Not Fade sister label Time Is Now for his second full EP on the label.

Jeremy again shows on The Lights EP why is highly regarded as one of the OG's of bass music, having been a producer of non stop consistent releases for the last 20+ years. The Lights EP has everything from dreamy synths, bass warpers, choppy breaks and infectious vocals, all merging together to create a truly unique take on bass music. All topped off with a weighty remix from artist of the moment Soul Mass Transit System on the B-SIDE. BIG TIP!

The Lights EP drops December 6th via Time Is Now.

“The upcoming release is about the ‘Interconnection’ between different senses, for example sound and touch: when sound becomes vibration our perception enhances,” says Enrico. “The track creates a metaphor of the concept using a voice and a synthesizer that playfully evolve and merge into each other to become one, while still keeping their distinctive identities. ‘Interconnection’ is a track made for the dancefloor, a place where all our senses come together and go beyond the auditory experience, becoming a multisensory experience where we're all... interconnected.”

As a producer Enrico Sangiuliano has done it all, from remixes of classics to chart topping techno tracks that range from deep and dark to more melodic and euphoric. His creativity knows no bounds and after 'Can U Feel It' explored the connection between auditory perception and physical sensations with fresh and emotive rave sounds, this new sound impresses once more.

The brilliant 'Interconnection' is a pulsating cut that locks dancers into the hypnotic drums as flashes of acid synths spray about up top. Edgy vocal stabs add to the pressure as trance-infused pads change shape through various filters. They range from smooth and smudged to sawtooth and make the trip all the more dynamic. Each element has plenty of room to breath and make its mark and a spine-tingling breakdown offers a moment to set before the groove kicks in and oscillating pads take dancers to the next level.

Enrico Sangiuliano's Interconnection EP is another essential work from this revered talent.

Jabu return with ‘A Soft and Gatherable Star’, an LP that sees the Bristol-based trio evolve from a uniquely spectral take on trip hop to proffer a singular vision between cloudy, downered dream-pop, off-kilter ambient, and the warm, low-end throb of sound system culture. This development is aligned with contemporaries like HTRK, Dean Blunt, Tarquin Manek, YL Hooi and Rat Heart Ensemble, whilst also harkening back to the likes of AR Kane (with whom they are set to play shows and release a collaborative single), the languorous drift of 'Victorialand' era Cocteau Twins or The Cure circa ‘Disintegration’. Comprising Jasmine Butt (vocals, guitar), Alex Rendall (vocals, keys) and Amos Childs (production, bass guitar), the trio’s method may have shifted but the feel remains consistent - slow, spatial, sensuous and gently melancholic. With a career arc unlike almost any other current guitar outfit, Jabu sit within a strong lineage of off-centre Bristolian music, and a very British strain of home-spun DIY bands. Self-recorded between Jas and Amos’ home in South Bristol and Amos’ mum’s house in rural North Somerset, the album came together via a process of trial and error - learning to play on borrowed instruments, using the equipment “wrong”, staying up late recording and slipping into strange, semi-conscious sleep deprived/inebriated headspaces. Having captured over 50 tracks, they honed in on those they liked most, shaping them further, whilst carving out space to allow input from people they love and admire - Daniela Dyson’s voice and Will Memotone's clarinet on ‘Ashes Over Shute Shelve’, Birthmark's synth on ‘Gently Fade’ and ‘Sea Mills’, Rakhi Singh (Manchester Collective) and Sebastian Gainsborough (Vessel)’s strings and arrangements on ‘All Night’, Josh Horsley’s cello on ‘If I Asked You, You'd Tell Me’, and Lorenzo Prati’s sax, again on ‘Sea Mills’. The album was mastered by Amir Shoat (HTRK, ML Buch, Dean Blunt, Carla Dal Forno). Influence-wise, the guitar-based material recalls the bands Amos listened to when younger, and Jas’ more folk-leaning inspirations. Deep-lying dub, hip hop and soul influences are also evident in both the way the LP was mixed, and the space ingrained in their subconscious. Tinged with melancholy, the songs cohere as a set of soliloquies and ruminations on love and tenderness. The album’s title comes from a poem by Amos’ late father which hangs on his wall and seeped into the record. ‘Ashes Over Shute Shelve’ is formed of lines from another poem of his. Recited by longtime collaborator Daniela Dyson and with Will Yates (Memotone) playing his mother’s clarinet, the track was imagined as a conversation between his parents. Geography and location also play a big part in the record, with several significant places name-checked in songs. Shute Shelve itself is a hill near Amos’ mum’s house, who explains “There’s a tree at the top with a 360° view of the Mendips, where my dad’s ashes were scattered. We used to go up there when we could first buy booze from the petrol station down the road, get drunk, light a fire, listen to music from my little battery powered CD player and sleep out without tents.” Titled after a Bristol suburb near where Amos’ grandparents lived and where Jas would spend time as a teenager, ‘Sea Mills’ references her being abandoned by friends on the Downs while high on mushrooms, stranded and missing the bus back. ‘Kosiše Flower’ references the city in Slovakia where Amos and Jas holidayed shortly after getting together and a flower he gave her, which she pressed in a book after an argument. ‘Oceanside Spider House’ is a location in Nintendo 64 game The Legend of Zelda: Majora’s Mask, where someone seeks shelter from the falling moon. Genre: Electronic / Ambient / Dream-pop

* Limited to 500 copies, Double Neon green Vinyl LPs in a 5mm Album sleeve printed with colour on the front and tracklist on the back is printed in glossy ink, 2 x printed inner sleeves

"KCT 3" marks a new chapter for The Hempolics, showcasing their growth as musicians and their commitment to pushing musical boundaries. With each track carefully crafted to perfection, the album offers a mix of infectious rhythms and soulful melodies that are sure to get you grooving.
From upbeat anthems to introspective ballads, "KCT 3" takes listeners on a musical journey through a variety of sounds and styles. Drawing inspiration from a diverse range of influences, the album invites listeners to explore new sonic landscapes and embrace the unexpected.

If you feel like motoring down the highway at 100 miles per hour breathing in pure rock n roll exhaust then look no further– Rowdy is here to kick out the jams and rev up with their self-titled debut LP Rowdy! These seasoned rockers are dealing out a heavy dose of song-forward classic garage punk that sounds like a mixed bag of Joan Jett singing for Teengenerate and Roky Erikson and The Aliens covering Oblivions. This is no surprise as Rowdy is formed by members of legendary Austin band Hex Dispensers and Scotland's Goldie Dawn, (Hex Dispensers, major contributors to the Texas garage punk scene). Rowdy’s sound runs the gamut with catchy 77 punk tunes like “All in My Head”- with its huge chorus, anthemic doo-wop tinged songs like “Fine Mystery, and bluesy garage rippers like “Cost Of It”. The recording is raw and punchy, dripping with overdriven twangy guitars, a steadfast, tight rhythm section, and blown out vocals. This record is pure rock n roll madness! Pop this Rowdy on in your headphones, shotgun a Steel Reserve, and you’ll be on your motorcycle doing donuts on your highschool principal’s lawn in no time.

"From the ashes of Linköping’s pioneering punk band, Tings of London, IQ 55 emerged onto the scene in 1978. Their compelling performances quickly made them the most sought-after band in their hometown. In 1979, IQ 55 recorded their first and only single, ”Livet Är En Bluff (Balladen)/ Bara Svårigheter,” in Gothenburg. Following their contribution to the compilation album Arnes Korvbar and numerous attempts to attract record labels, the band disbanded in October 1983. Now, for the first time, the full-length album ”Livet Är En Bluff” containing IQ 55’s timeless, original, and raw sound is here."

Repress! It's safe to say that hip-hop has never seen an album like Ol’ Dirty Bastard's 1995 solo debut Return to the 36 Chambers. The brief glimpses of ODB's unhinged genius provided by Wu-Tang Clan's landmark Enter the Wu-Tang album two years earlier were begging to be expanded on to a larger canvas, and, with RZA guiding production, the album promised to give Dirty the creative license to make one of the most bizarre, entertaining and original LPs in hip-hop history. With his raspy, drunken flow and dark sense of humor, Dirty fearlessly attacks from all angles, throwing himself fearlessly into punchy rhyme attacks (“Damage,” with GZA), drugged-out party jams (the monster singles “Brooklyn Zoo” and “Shimmy Shimmy Ya”) and bizarre, grimly hilarious fantasies of sex and violence (“Don't U Know” and the R&B-tinged “Sweet Sugar Pie”). Backed by RZA's appropriately gritty, dissonant beats and appearances from the Clan, Return became an instant hit, selling over 1 million copies and earning a Grammy Award nomination for Best Rap Album in 1996. The album stands as a high water mark in the Wu-Tang Clan's collective creative output and was selected as one of the Best 100 Rap Albums by The Source magazine in 1998. In honoring the legacy of one of hip-hop's most innovative releases, Get On Down is proud to present this incredible and unique special edition of Ol’ Dirty Bastard's Return to the 36 Chambers as a double LP which contains the complete original album, remastered for optimal sound quality.

Direct follow up to OKC noise rock band’s 2022’s breakthrough album God’s Country. Mixed by Benjamin Green (Uniform, Portrayal of Guilt, Drab Majesty). Mastered by Matt Coloton (The Rolling Stones, Blur, Nick Cave, Sunn O)). Full US tour in 2024, EU early 2025, with more dates to come. Like the towering mounds of toxic waste from which it gets its namesake, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive, unrelenting, and outlandish of a sound has stuck as strong of a chord as it has. Dread has replaced the American dream, and Chat Pile’s music is a poignant reminder of that shift—a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Though very much on-brand with Chat Pile’s signature flavor of cacophonous, sludgy noise rock, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings, with examples of gazy, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. Besides stylistically stretching the boundaries of the Chat Pile sound, Cool World is also the band’s first record to have someone else handle mixing duties, with Ben Greenberg (Uniform) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. While Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”, what the band depicts on Cool World is unsettling not just from its visceral noise rock onslaught, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality.

Before we pack away the poppers for another year, let Red Laser take you for one last spin on the waltzers.
Tried and tested at our recent road block parties in Manchester, these edits shine a light on four primo-grade Italo face melters. Fervently excavated by Bosco over countless visits to Bel Paese and streamlined for the hydrofoil, with some extra added calories for the club.

Opener 'Destiny' tweaks and shudders under analogue arpeggios, dazzling Strat chops and cosmic bass interplay before dropping into a simply glorious female vocal that, thankfully, gets plenty of airtime before Bosco calls close. A track so close to perfection we had to make it longer.
'Flavio', up next - and half sung in Italian so we only know a bit of what she's on about - is another supreme slice of Italo disco from the upper echelons that Bosco snaffled between glugs of Barolo and a face full of worm cheese. Sure to instigate group hugs, 4AM declarations of love, tears of happiness and huge pelvic thrusts dependant on environment and inebriation.

The tingles continue on side B with another supernova burning bright across the stars. 'Newsin' introduces itself with a joyous marriage of marimba and synth before yet another vocal proves Italians really do, do it better when it comes to writing some of the catchiest hooks and choruses in the universe.
'Lace', featuring the record's only male vocal appearance, has a romantic, proto-goth-new-wave vibe; like if Robert Smith and Richard Butler had a chem-sex love child after a wild night in Baia Degli Angeli.

Not sure who the woman in lace is, but we'd defo like to see her down The White Hotel one night...

Deluxe Edition = "Queen's Tassel Pink" Vinyl + bonus 7". Video Age make breezy and timeless songs that are so ineable, they can only be the result of a decades-long friendship and songwriting partnership. Across four albums, Ross Farbe and Ray Micarelli have gleefully worn their influences on their sleeve, writing inviting tunes that reference sounds ranging from disco to pop and indie rock. On their latest LP, Away From The Castle, the New Orleans duo have strayed from nostalgia and instead have honed their own unique musicality, making songs that sound like themselves with a taste of inspiration from classic singer-songwriters of the 60s and 70s. The album is a testament to the possibilities that come from getting out of your comfort zone, the freedom of writing vulnerably and unselfconsciously, and the joys of getting to work with your closest companions. After releasing and eventually touring their critically-acclaimed third album Pleasure Line in 2020, Farbe and Micarelli sought inspiration for their next project through collaboration. They worked with Drugdealer on his album Hiding In Plain Sight, Micarelli gigged throughout New Orleans' jazz and blues scenes, and Farbe recorded local artists at his home studio, most recently producing Esther Rose's new album Safe to Run. Feeling refreshed, they rented a cabin in Eunice, Louisiana with touring members Nick Corson and Duncan Troast, where they spent eight days in August 2022 jamming, cooking and writing together. Through this process, Video Age have made their best collection of tracks to date by perfectly alchemizing their influences and experiences into a record still tinged with nostalgia, but moving towards a more succinct and authentic voice. Away From The Castle is a document of a band having fun and rediscovering their love for making music together, but it's also their most honest and personal work yet-Video Age distilled to its purest form.

The ever prolific Teffa is back on LoDubs, albeit for his first Vinyl EP.

As just alluded to, this is the second meeting of the Far West Ruler and the Low End Master from Leeds, although one might be forgiven for blinking and missing the highly sought after (sold out in 5 minutes) Poly DubPlate cut released in early 2023, which was a matter of course in a year where pressing turn times quadrupled. As glad as we are that those days are in the past it also still left the inkling that a full release was necessary once the time and tunes presented themselves.

..And as such, here we have a total of 6 now-ting Grime hybrids (4 on the vinyl, and 2 vinyl-only bonus tracks in the DL and details on how to get those as a poly Dub, only for owners of the vinyl EP), Containing the elastic basslines of a true UKG and Dubstep Stalwart, whilst stretching those elements over syncopated, at time staccato-esque riddims, all beneath a novel modernization of the stilted, subharmonic and eski-esque synth bass pads that are quintessentially Grime. There truly is more to these with each listen, all the while grabbing you at first go.

State of the art: From the one and only Teffa.

With a career spanning over 50 years, U Brown is one of the last legends of Jamaican reggae. Singer, toaster and producer on the famous Hits Sound label, he has spanned the decades, leaving an indelible mark on roots reggae with hits like “Weather baloon”, “Superstar” and “Tu Shung Peng”.

His discretion and humility, despite being one of the world's greatest toasters like U Roy or Big Youth, make him a cornerstone of this music.

After many years of collaboration on stage and in the studio, U Brown and French label Irie Ites Records have teamed up to produce this new album entitled 'Still Chanting Rub A Dub'.
Comprising 12 tracks, this opus showcases U Brown's inimitable voice.

U Brown's inimitable voice and flow, recognizable from the very first notes. The themes addressed revolve around current social issues, in which the artist encourages us to surpass ourselves on a daily basis and to fight against the corruption of the most powerful. Lyrics that will speak to a wide audience!

Musicians on the album include the cream of reggae songwriters such as Roots Radics, Naram & Art, Med Tone, The Ligerians, Irie Ites All Stars, Nambo Robinson and Dean Fraser. Mixed by Roberto Sanchez and Irie Ites for a rootsy result in the image of 70s albums. A host of roots reggae greats feature on various tracks, including Eek A Mouse, Cornell Campbell, Frankie Paul, Sugar Minott, Linval Thompson, Glen Washington, Al Campbell, Naggo Morris and Trinity.

Still Chanting Rub A Dub is an album that will undoubtedly mark U Brown's long career as one of his landmark albums. A must-have for all fans of Reggae Roots and Rub-A-Dub!”

2024 Repress

Flectic Mongs was DJ Club Sandwich’s first release on his own label. Following suit of the previous eps by Matthew and Aquatronics with a tinge of acid. This EP would slowly unravel into the following styles of The Call EP and the Jack Bregman LP. The colour of the record is how it sounds.

Continuing our quest to get all of the classic early AMT albums released on vinyl, we turn to 2004’s 'Mantra Of Love’, and with the help of Makoto Kawabata’s studio wizardry, we’ve made it possible.

This latest instalment in the ‘Acid Mothers Temple Vinyl Archives - First Time On Vinyl’ series (as with the three previous SOLD OUT releases in the series) have all been meticulously put together with the help of Makoto Kawabata with the original CD artwork recreated for these vinyl editions from archive photos stored in the vaults at the Acid Mothers Temple in Osaka, Japan and the original audio remastered by James Plotkin.

Here’s what others had to say upon it’s original CD only release back in 2004 …

“Acid Mothers are strong folk. You'd think they'd tire quickly, all tucked away on their island, strewn about on tree roots while baking their lungs and throats to a knotty green tinge. But instead of waltzing through life like hippies, they manage to not only tour and put out records every year, but also to fill those albums with 30-minute jams and assorted freakouts. And while evil jam bands would fill that space with guitar work taken from the Classic Rock Manual of Clichés, Makoto Kawabata and company assault listeners with frighteningly dense walls of white noise, psychedelic swirl effects and, yes, even guitar solos-- albeit ones that are more Merzbow or Keiji Haino than Gary Rossington. Truly, AMT's endurance and threshold for cosmic lashings are both worthy of admiration.

But how much AMT can you take in one sitting? If there's anything this band has taught us-- via records such as 2002's Electric Heavyland and the ferocious Acid Mothers Temple & the Melting Paraiso U.F.O-- it's that they're not afraid to reach for the upper regions of consciousness. On Mantra of Love, they offer two titles over the course of one hour, never faltering along the way, and it's as if we listeners are just brief visitors passing through a never-ending, spontaneous group trip. For all I know, Kawabata has hundreds of hours of this stuff on his hard drive-- at any single moment, this record's sheer volume of sound is a clamor to behold. However, if you aren't dialed into that the particular space AMT inhabits (for me, it's the mystical fire-baptism standby), you might not hear their glorious noise for all the, well, glorious noise.

"La Le Lo" begins as a lengthy psychedelic ballad sung by Cotton Casino (who doubles on "beer & cigarettes"), who is accompanied by her own ghostly backing vocals. The band is playing a mantra as Casino waxes earth-mother stylings to the moon. The serenity is broken by a patented AMT rave led by Kawabata's electric sitar (!) solo. Ace rhythm section Tsuyama Atsushi ("monster bass") and Koizumi Hajime hold things together, as does the generally decent recording quality (not a given for these guys), but the real money is in effects-- lots and lots effects. Much like France's Richard Pinhas or AMT's countrymen in Les Rallizes Denudes and High Rise, the band understands the collaborative power of solo + overdriven Moog sirens and screams. And, also like those artists, Acid Mothers can go on all night if need be. About 25 minutes into this piece, any hell that hadn't already broken loose gets its due, and the band speeds to a fiery climax before winding down into glimmering astro-ambience.

The second track, "L'Ambition dans le Miroir", also begins as a minor ballad featuring Casino's haunting solo vocal. The Mothers set her up with a faux-blues drag and a thick buffer of synth-rays; when Casino actually enters, she fights for airtime with an array of falling stars and cosmic dust. However, this time there is no overwhelming solo to power the comedown. Casino intermittently coos in the background while droning horns keep the auxiliary pixie haze from evaporating. As they showed on In C and La Novia, AMT are more than adept at creating calmer storms-- listeners just have to catch them in the right light. Mantra of Love doesn't necessarily capture the most inspired moments in their canon but as usual with this band's records, it's rarely at a loss for moments of horror or grandeur.”

Acid Mothers Temple & The Melting Paraiso U.F.O. : Cotton Casino - Vocal, Beer & Cigarettes - Tsuyama Atsushi - Monster Bass, Vocal, Cosmic Joker - Higashi Hiroshi - Synthesizer, Dancin' King - Koizumi Hajime - Drums, Percussion, Sleeping Monk - Kawabata Makoto - Guitar, Bouzouki, Electric Sitar, Violin, Hammond Organ, Speed Guru

Los Angeles-based ska-punk band The Interrupters" second album. Say It Out Loud is undeniably fun and urgent in message. And backing their modernized 2-Tone-tinged, guitar-fueled, melody-heavy sound are lyrics that confront everything from social control and self-empowerment to domestic violence and the media circus surrounding the next presidential election. Produced by Armstrong and recorded partly at his studio (as well as at Travis Barker"s Opra Studios), Say It Out Loud are a batch of feel-good songs proving The Interrupters" unstoppably upbeat spirit.