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WUCAN are a young heavy retro rock band from Dresden, Germany with
deep roots in the late 60s and early seventies with a dash of blues, folk,
progressive and Kraut rock
This sort of time- warp music is covering the gamut from the Woodstock
generation to the modern rock sound, starting with acoustic guitar, traverse flute
and Hammond organ and ending at the modern rock sound of the heavy kind.
WUCAN made the right choice of partners with producer and owner of the Big
Snuff Studios in Berlin Richard Behrens and with Andreas € Lupo € Lubich of
Calyx Mastering for a successful debut in the retro rock scene. Richard Behrens,
who is bassist of the 70s band HEAT and live toning of the genre heroes
KADAVAR additionally to his producing duties, created an authentic 70s sound by
using analogue machinery. Combined with the modern heavy surround of the
band unfolds a fresh mix of yesterday and today, which bursts with lust for music.

After Quiet Places (2020) Andreas Vollenweider has grouped his music
on his new album according to atmosphere and character: Slow Flow is a collection of pieces with a relaxed, flowing feel, while "Dancer" is full of movement and rhythm All 11 songs on "Slow Flow" and "Dancer" were created between 2010 and 2021 in collaboration with British producer Andy Wright (Eurythmics, Simply Red, Jeff Beck, Simple Minds, among many others). The two were supported in their
creative process by Vollenweider's talented circle of friends, who laid the foundation for the songs: Walter Keiser (drums), Andi Pupato (percussion), Daniel Kueffer (bass clarinet), Oliver Keller (guitars) and the young Swiss rapper and beat boxer Steff La Cheffe, a.k.a. Stefanie Peter. The music of "Dancer" also reflects Vollenweider's connection with Africa. The South African vocal harmony band Africapella and singer Ayanda Nhlangothi embody this connection. The London Session Orchestra, consisting of musicians from the Royal Symphonic
Orchestra under the direction of James McWilliam, filled out the sound.
Renowned British producer and arranger Peter Vettese is responsible for most of the orchestration. The recordings took place at Andreas' Lakeside Studios in Switzerland, as well as at SABC Studios in Johannesburg, South Africa, and finally at the legendary Abbey Road Studios in London. Andy Wright's long-time sound engineer Gavin Goldberg has set new sonic standards for Vollenweider's music
with his work, and is able to delight even the most discerning audiophiles with a punchy yet transparent, dynamic soundscape.

Limited Edition of 7,000 on Purple & Green Vinyl. Limited Edition of 3,000 on Purple & Green Vinyl w/ Bonus 7“. Celebrating the 15th anniversary since its original release, Dinosaur Jr. is reissuing “Beyond” on limited edition coloured vinyl with a special edition white vinyl 7”. With J Mascis on guitar & lead vocals, Lou Barlow on bass and vocals, and Murph on drums, the 2007 album was the first from original lineup Dinosaur Jr. since 1988’s “Bug," kicking off a Dinosaur Jr. reunion which has lasted longer than the band’s original run. "Less a theme park of the past and more of an actual trip there… Beyond is nostalgic for everything but the band's own glory days. If anything, it's an exercise in making their entire twenty-year output sound contemporary again.” - Zach Baron for Pitchfork // "very existence of this new album is a surprise, but the real shock is that Beyond is a flat-out great record, a startling return to form for J Mascis as a guitarist and songwriter and Dinosaur Jr. as a band… Beyond isn't merely a worthy album from a reunited band, it's simply a great record by any standard.” - Stephen Thomas Erlewine for Allmusic Guide // "There is something almost eerie about how exactly the Dinosaur Jr of 2007 sound like the Dinosaur Jr of 1988: on occasion, listening to Beyond feels discombobulating, like meeting an old school friend 20 years on…" - Alex Petridis (The Guardian).

Limited Edition of 7,000 on Purple & Green Vinyl. Limited Edition of 3,000 on Purple & Green Vinyl w/ Bonus 7“. Celebrating the 15th anniversary since its original release, Dinosaur Jr. is reissuing “Beyond” on limited edition coloured vinyl with a special edition white vinyl 7”. With J Mascis on guitar & lead vocals, Lou Barlow on bass and vocals, and Murph on drums, the 2007 album was the first from original lineup Dinosaur Jr. since 1988’s “Bug," kicking off a Dinosaur Jr. reunion which has lasted longer than the band’s original run. "Less a theme park of the past and more of an actual trip there… Beyond is nostalgic for everything but the band's own glory days. If anything, it's an exercise in making their entire twenty-year output sound contemporary again.” - Zach Baron for Pitchfork // "very existence of this new album is a surprise, but the real shock is that Beyond is a flat-out great record, a startling return to form for J Mascis as a guitarist and songwriter and Dinosaur Jr. as a band… Beyond isn't merely a worthy album from a reunited band, it's simply a great record by any standard.” - Stephen Thomas Erlewine for Allmusic Guide // "There is something almost eerie about how exactly the Dinosaur Jr of 2007 sound like the Dinosaur Jr of 1988: on occasion, listening to Beyond feels discombobulating, like meeting an old school friend 20 years on…" - Alex Petridis (The Guardian).

Leatherette are, by their own description, “five shy guys who sometimes get off the stage and punch people,” a quintet whose car-crash of jagged noise, twisted love and dark, anguished melody has delivered a remarkable – and eminently combustible – debut album. The group are based in Bologna, but all hail from different towns in Italy. These five young men – singer/guitarist Michele, bassist Marco, drummer Francesco, guitarist Andrea and saxophonist Jacopo – are united by a profound need to make music, to express themselves naturally and honestly. The group bonded over wildly differing influences – everything from midwestern emo gods American Football, to Berlin-era Bowie, to James Chance & The Contortions, to rap and electronic music – to create a dense, passionate, articulate sound of their own. You can file them near fiery post-punk kindreds like Shame and Squid, or unhinged 90s noisers like Unwound or Hoover, or squalling No Wavers like James Chance, but the truth is there are few bands like Leatherette that walk this Earth. Their first full-length, Fiesta follows an EP, Mixed Waste, recorded during lockdown. The songs on Fiesta precede the Covid era, though the group spent the pandemic rewriting and overhauling their maiden batch of songs at leisure. The result is an astonishing and remarkable debut: poetic, caterwauling, broken and beautiful. The album title is “a reference to the bullfights in Pamplona,” the group say. It’s no empty metaphor. “Bullfight is a strange ritual,” they elaborate. “And we’re against bullfights, but they’re fascinating in an iconographic way. And also metaphorically, violence flows on both sides, but in a feastful way. It’s similar to a concert, really – you’re expressing violent things, in a physical way. And people react to that, which is wonderful, which is fantastic.”

12 track vinyl LP and 18 track CD including bonus single and demo recordings. The Daggermen all went to Rede Secondary School in Medway, Kent. It was a school for those that failed their 11 plus, or who passed it but decided to go there anyway (as Jon pretends). Being in some of the same classes we became friends and found we liked the same music; The Who, The Small Faces, The Kinks, The Beatles and The Jimi Hendrix Experience. We started going to Carnaby Street, wearing Beatle boots and generally being a bit Moddy. Dave’s older brother, James Taylor, played organ in The Prisoners and we’d listen to cassette tapes of them along with other local band, The Milkshakes as we bounced on the trampoline during P.E. After watching both bands play live in local venues such as the M.I.C. club in Chatham we formed The Daggermen, working out who was going to play which instrument as we stood next to the now demolished school sports hall. No one can quite remember who thought of the name, The Daggermen (it was me) or how comes Jon was playing bass on a guitar in the band at the very start and then Terry took over when we started gigging (it was because he had a real bass guitar and a car). But the next thing was that we were supporting The Prisoners both in Medway and places such as the 100 Club in Oxford Street. Then, one sunny day at around the age of 17, I bumped into Billy Childish walking across a field. I formally introduced myself and told him that he should definitely come and see our band that night because we were “fucking brilliant”. He did turn up and bought us a tray of whiskies whilst we were on stage, a sure sign that he had liked it. This led to him and Russ Wilkins, bass player in The Milkshakes alongside Billy, asking us if we wanted to record an E.P. for Russ’s label, Empire Records. This was our first ever recording called Introducing The Daggermen which was made in a brick arch under Rochester bridge that we rented for £2 a week to rehearse in and lovingly referred to as ‘The Hole’. We got ourselves a “manager” (our mate, Vic Templar) and started playing up and down England, drinking as much as possible in the van on the way to each gig, often paralytic by the time we went on stage. Our musical style was a sort of mixture of punk and mod and we played covers such as ‘Heatwave’ (The Who’s version) and ‘Get Ready’ by the Temptations, along with Dave and Terry’s originals. Then came a change of line up when Jon resumed his position as bass player and Terry left for America. We started wearing military jackets thanks to Jimi Hendrix and made our first long player, Dagger In My Mind (I got the title off an episode of Star Trek, although I remembered it wrong and it should have been ‘Dagger Of The Mind’). The album was produced by James Taylor and Allan Crockford of The Prisoners at Woolly Studios on the Isle of Sheppey in 1986. This line-up played together for a couple of years up and down the country (also with a few gigs in France) before we called it a day and sailed off into the future in bands such as The James Taylor Quartet, The Kravin’ “A”s, The Solarflares and Billy Childish and The Buff Medways. As energetic youths we had a lot of fun and I am very proud to have been part of The Daggermen. We hope you enjoy these recordings, now all gathered together for the first time. Sincerely yours, Wolf Howard, Cafe Mozart, Chatham CD TRACKLISTING 1 – It’s You I See 2 – What Do I Do For You 3 – There’s No Escaping 4 – I’ve Been Hurt 5 – I Have Lost Heart 6 – You Were Meant To Be 7 – Every Moment 8 – Dagger In My Mind 9 – That Girl 10 – D’you Think Of Me 11 – I Feel The Regret 12 – I’ve Been Searching 13 – Now It’s You I Need 14 – Ivor 15 – One More Letter 16 – I Wish You Were Mine 17 – Bundle 18 – No Reason LP TRACKLISTING 1 – It’s You I See 2 – What Do I Do For You 3 – There’s No Escaping 4 – I’ve Been Hurt 5 – I Have Lost Heart 6 – You Were Meant To Be 7 – Every Moment 8 – Dagger In My Mind 9 – That Girl 10 – D’you Think Of Me 11 – I Feel The Regret 12 – I’ve Been Searching

Experimental post-punk outfit GIRLS IN SYNTHESIS are set to release the eagerly anticipated follow-up to 2020’s incendiary debut, ‘Now Here’s An Echo From Your Future’. Entitled ‘The Rest Is Distraction’ and available this coming October 14th via the band’s own label Own It/Cargo Records, its mix of fractured guitar, crushing drums and bass, intense vocals and lyrical content - create as challenging a record as you will hear this year. Formed in 2016, GIRLS IN SYNTHESIS are John Linger (bass / vocals), Jim Cubitt (guitar / keys) and Nicole Pinto (drums). The trio’s double a-sided debut single ‘The Mound’/’Disappear’ came out in the early part of 2017, and since then they have established themselves as the most forward thinking, viscerally challenging band around with unmissable live shows that continue to excite and astound in equal measure. Recorded last year amidst the uncertainty of continuous lockdowns as a result of the global Covid-19 pandemic, ‘The Rest Is Distraction’ is far darker in content than its predecessor. Mainly exploring internal and mental struggles as opposed to external current affairs, it focuses on the claustrophobia of emotional anguish and continues to bravely delve into previously un-ventured topics. Featuring frequent collaborators funkcutter and Stanley Bad on horns and violin, respectively, two songs also see Eleni Poulou, ex-The Fall, on keyboards. The album was mixed by long-term collaborator Max Walker and features stunning landscape photography by Bea Dewhurst. The album was mastered in France by Ayumu Matsuo. Sonically atramentous and less one dimensional than the band’s debut, ‘The Rest Is Distraction’ takes its cues from ‘Join Hands’ era Siouxsie & The Banshees, Brainiac and Crass’ ‘Christ The Album’, among others. From the first crackle of electricity on the opening track, to the heart wrenching taped voice-recording on the final outro, this LP triumphantly retains every ounce of intensity and vitality that makes Girls In Synthesis the most captivating band to emerge from the UK DIY underground in recent years. Listeners will find ‘The Rest Is Distraction’ a challenging, yet ultimately cathartic listen. Prepare yourselves for a sonic cleansing, Girls In Synthesis style. Side A 1- It’s All Beginning To Change 2- Watch With Mother 3- Total Control 4- Swallowed Pill 5- Screaming
6- My Husband Side B 1- Cottage Industry 2- Not As I Do 3- Lacking Bite 4- Your Prayers Have Changed 5- To A Fault

Experimental post-punk outfit GIRLS IN SYNTHESIS are set to release the eagerly anticipated follow-up to 2020’s incendiary debut, ‘Now Here’s An Echo From Your Future’. Entitled ‘The Rest Is Distraction’ and available this coming October 14th via the band’s own label Own It/Cargo Records, its mix of fractured guitar, crushing drums and bass, intense vocals and lyrical content - create as challenging a record as you will hear this year. Formed in 2016, GIRLS IN SYNTHESIS are John Linger (bass / vocals), Jim Cubitt (guitar / keys) and Nicole Pinto (drums). The trio’s double a-sided debut single ‘The Mound’/’Disappear’ came out in the early part of 2017, and since then they have established themselves as the most forward thinking, viscerally challenging band around with unmissable live shows that continue to excite and astound in equal measure. Recorded last year amidst the uncertainty of continuous lockdowns as a result of the global Covid-19 pandemic, ‘The Rest Is Distraction’ is far darker in content than its predecessor. Mainly exploring internal and mental struggles as opposed to external current affairs, it focuses on the claustrophobia of emotional anguish and continues to bravely delve into previously un-ventured topics. Featuring frequent collaborators funkcutter and Stanley Bad on horns and violin, respectively, two songs also see Eleni Poulou, ex-The Fall, on keyboards. The album was mixed by long-term collaborator Max Walker and features stunning landscape photography by Bea Dewhurst. The album was mastered in France by Ayumu Matsuo. Sonically atramentous and less one dimensional than the band’s debut, ‘The Rest Is Distraction’ takes its cues from ‘Join Hands’ era Siouxsie & The Banshees, Brainiac and Crass’ ‘Christ The Album’, among others. From the first crackle of electricity on the opening track, to the heart wrenching taped voice-recording on the final outro, this LP triumphantly retains every ounce of intensity and vitality that makes Girls In Synthesis the most captivating band to emerge from the UK DIY underground in recent years. Listeners will find ‘The Rest Is Distraction’ a challenging, yet ultimately cathartic listen. Prepare yourselves for a sonic cleansing, Girls In Synthesis style. Side A 1- It’s All Beginning To Change 2- Watch With Mother 3- Total Control 4- Swallowed Pill 5- Screaming
6- My Husband Side B 1- Cottage Industry 2- Not As I Do 3- Lacking Bite 4- Your Prayers Have Changed 5- To A Fault

Revisiting a press release for the Nightingales' last album, Four Against Fate, we recalled hesitant anticipation for the forthcoming King Rocker, a film documentary of Robert Lloyd and Nightingales, made by Michael Cumming and Stewart Lee. After forty years of activity, Robert and the band had seen hyped recordings go lost, scant commercial success. Royalties? Ha. Yet response to King Rocker was immediately positive. Fab reviews galore, a long process regaining master rights which led to a series of expanded reissues with Fire. A tour postponed three times finally took place, to fully-packed houses. It was a very good year. The band felt a degree of anxiety prior to the sessions, which took place at Valencia's Elefante Studios. With bassist Andi Schmid isolated during Covid, the band had yet begun working out individual rough sketches, typically battered into songs over a period of months. They went into a new studio blind, with a new producer, Jorge Bernabe, without rehearsals . . . and produced a top-to-bottom masterpiece. Thirty seconds in, "Sunlit Uplands", is already a classic showcasing Fliss Kitson's increased songwriting power and the core dichotomy of the groups's best songs: perverse as fuck, catchy as fuck. I � CCTV is highlighted by a fab Jim Smith astral-garage guitar riff . . . and that's a one-two punch few albums ever equal, let alone carry over to the affectionate "Frances Sokolov", Robert's ode to mentor Vi Subversa, the playground riff that underlines "Spread Yourself Out" and then "Bloody Breath", the best encapsulation of all the band's genius in developing a kind of "pop" that no other combo has ever cracked. Other highlights include the lopsided mysterious beauty of "Magical Left Foot", the courtly raver of "I Need The Money At The Time" with a wonderful motorik groove driven by bassist Andi Schmid, and the album closer, "My Sweet Friend", a rockabilly lullaby which sounds like a magical outtake from Robert's one and only solo album It's a corker, it's a marvel, it's the best Nightingales record to date. Try and deny it. Tracks: 1 Sunlight Uplands (Turn That Frown Upside Down) 2 I � CCTV 3 Frances Sokolov 4 Spread Yourself Out 5 Bloody Breath 6 Mind Of Stone 7 I Needed The Money At The Time 8 The Very Nature 9 Magical Left Foot 10 Mark Meets No Mark 11 My Sweet Friend

Treviso, Italy-based two piece Kill Your Boyfriend will release their fourth album 'Voodoo' on October 14th via Sister 9 Recordings (Europe), Little Cloud Records (North America) and Shyrec (Itay). A frantic and hypnothising bacchanalia of Psych & Industrial tinged soundwaves, the new album is a collection of reverb laden necromantic charms, summoning the souls and bones of the greats in the Rock & Roll pantheon of the 1950s. The duo delivers such glittery dark enchantment via 7 hoodoo hymns, travelling with a crumbling, ghostly and magically whizzing Rocket 88, in the company of Marie Laveau and madame Lalaurie. It's a relentless whirl of Voodoo-Psych, Industrial-Billy, Electro-GrisGris, which you can dance to. The new LP follows 'Killadelica', where Kill Your Boyfriend had refined their debut signature sound, bridging the gap between the semi-obscure but hauntingly fascinating tradition of Veneto's Post-Punk (Death In Venice, Evabraun, Pyramids, etc.) and contemporary Psych-Nouveau. With 'Voodoo', Matteo Scarpa and Antonio Angeli, explore new genres and expand the sonic borders, without losing their original intent. They replace the synth bass with a bass-guitar, adding more fluidity and weight to a renewed and punchier rhythmic section. Electronic and acoustic percussion are fuller and heavier, and the band's new stomp-machine is a hyper-convulsive version of the saturated Rock & Roll and R&B drumming, from the cheap garage studios of 1950s indie labels. Sida A is the most Rock & Roll of the two, and it is inspired by Michael Ventura's essay "Hear that Long Snake Moan", which brought forward the idea that "the Voodoo rite of possession by the god became the standard of American performance in Rock’n’Roll" where the performers "let themselves be possessed not by any god they could name but by the spirit they felt in the music”. Each song invokes one or a set of the lost souls of the Rock & Roll era, with 'The Day The Music Died' referring to the infamous 3rd of February 1959. Side B descends deeper into the magic swamps of Creole magic, with music taking on a much more liturgical function, conjuring shamanic possessions via extra layers of tribal percussion. The band says of side B: "we see it as a one long ritualistic descent into a psychedelic underworld made of echoing voices, claustrophobic spaces populated by lost souls, enchanters and witchdoctors."

TRACKLIST 1. The King 2. The Man In Black 3. Mr Mojo 4. Buster 5. The Day The Music Died 6. Papa Legba 7. Vodoo

After a 2 year hiatus, Madam X's KAIZEN imprint comes back full force, with an upgraded aesthetic and brand new wave of leftfield, off-kilter club music. KZN009 sees one of Manchester's most exciting up & coming producers, Cartridge, mark his debut with a fierce 2 tracker, loaded with soundsystem pressure and gully 130 artillery in the Banada EP. Melodic Grime, moody Dubstep, and sub-heavy textures sprinkle this wobby release, designed for dark rooms, splintered basements and heavy soundsystems. With an impressive back catalogue on Deep Dark & Dangerous, Albion Collective & one half of Regents alongside Manchester kingpin Strategy (Broke'n'£nglish), Cartridge is no stranger to the UK's burgeoning bass music scene.

On the A side, we have Banada, a melodic eastern-flavoured instrumental, with elements of Grime and Dubstep carrying the tune to its arpeggiated crescendo.

A singing voice and raspy melody build the tension before a heavily distorted switch up catches you off guard, leading you further down a Dubstep rabbit hole, and into a world of shady and sinister drops, sitting perfectly alongside the label's strictly hoods-up, heads-down tip.

Teaming up with KAIZEN heavyweight and local scene hero Biome on the B-Side, Ricky Rosé has proved a firm favourite for those peak-time, no-holds-barred, bass-in-your-face, power hour moments. Relentless in its metallic bassline and thumping 808 drums, this explosive club tool comes with a solid side-serving of gunfingers and screwfaces.

UWUW, is: Jay Anderson (Badge Epoque Ensemble, Biblical, Lammping) -
drums Ian Blurton (Ian Blurton's Future Now / Change of Heart / C'mon)
guitar and production Jason Haberman - Bass (Yaehsun / Dan Mangan )
Bass Guest Vocals by: Drew Smith and Marker Starling
After many years of playing in mutually respected bands, Jay Anderson and Ian
Blurton came together through a run of shows, backing mutual friend and singer/
songwriter, Kate Boothman as her drummer, and guitarist, respectively.
Anderson's and Blurton's connection were instant, and a plan was set to start
making music together. As ideas began to take shape, Anderson suggested
bringing in Jason Haberman, a talented bassist, who Anderson had seen play
with Toronto indie- folk band, The Wooden Sky. The trio hunkered down for two
days in Blurton's Pro Gold Studios, jamming out ideas. With the intersection of the
many different bands and genres each brought to the table, songs came together
quickly, with Blurton editing and sculpting, as they went along. Realizing they
didn't want an instrumental record, they layered on bright horns and smooth
vocals, lifting the songs from instrumental jams, to the undefinable yet distinctive
sound that is, UWUW. Saxophonist, Jay Hey, was brought in to provide horn
arrangements, along with Tom Richardson on trombone and Patrick McGroarty
on trumpet, all three contributing on every song.
Giving the songs a voice, literally, are two of Toronto's most distinctive
songwriters: Drew Smith (Bunny, The Bicycles), providing his trademark, 60s
harmony pop and lyrical prowess to Staircase and Landlord ; and Marker Starling;
adding his distinct, easy- glide, story- telling charm to Box Office Poison, and
Scattered Ashes.

Abandoning doo-wop for hard funk through Funkadelic and related act Parliament, George Clinton became the cosmic funk warrior extolling sex, drugs, and funk ‘n’ roll, using bubbling bass, rock-star guitars, full horn sections and powerful choruses to venture into funk’s deep space. The P-Funk Power cherry-pics some fine live concert moments from Clinton and his P-Funk All Stars, the highlights including a riveting rendition of ‘Let’s Take It To The Stage,’ and super-extended takes of crowd-pleasers ‘Cosmic Slop’ and ‘Atomic Dog,’ culminating in the excessive funk space trip of ‘Funkentelechy (Where’d You Get That Funk From),’ the man and his band on peak form from start to finish. All killer, no filler!

DJ X-Rated is back with a new album – Backstory! Full of feel-good funk & Hip Hop swagger with dusty, gritty vintage production, Backstory is everything you need right now.
Think funky, flowing vocals, warm heavy drums, funky melodies, and fat basslines. The style is progressive instrumental Hip Hop like DJ Shadow, Jurassic Five & 90’s Boom Bap! What makes “Backstory” different is the unique production style of DJ X-Rated. Set across 15 tracks, Backstory is a journey deep into the soul of DJ X-Rated & his incredible collective group of artists.

Similar in concept to her earlier classic NIGHTCLUB, CLIQUE! gives Patricia and her long-time band (Jon Deitemyer, drums; Patrick Mulcahy, bass; Neal Alger, guitar; Jim Gailloreto, tenor sax) a stellar showcase for their telepathic musical communication and consummate jazz chops. Barber said of recording an all-standards album:

"The harmonic language of jazz, as well as that of the Great American Songbook, is certainly rich - look how much has come out of it - but it's circumscribed. I started wanting to hear something else."

These are relaxed, communal sessions. Her core trio ride up and down, in and out of Barber's complex, sensitive playing and singing. Their support allows her to shine brightly while digging out striking moments for their own unique contributions. The chemistry is palpable, all encompassing. This group's long-developed synergy - painstakingly curated by these musicians for years - provides both a metaphor and the perfect title for her new album.

Impex Records, Patricia Barber, and Jim Anderson invite you to experience the music, revel in the mastery, and join the Clique!

Since first forming in 2014, New York trio THICK have triumphed at
turning the harshest truths into wildly exhilarating punk songs
On their second album Happy Now, vocalist/guitarist Nikki Sisti, vocalist/bassist
Kate Black, and vocalist/ drummer Shari Page deliver their most complex and
confessional work yet, exploring everything from self-sabotage and insecurity to
victim-blaming and destructive relationships. Raw, irreverent, and brutally honest,
Happy Now ultimately offers both joyful catharsis and much-needed instruction
for living well in turbulent times.The follow-up to 5 Years Behind (a 2020 release
praised by Under the Rader as a "dazzling debut album…laced with anger, humor,
killer guitar riffs, and soaring punk melodies"), Happy Now finds THICK working
again with producer Joel Hamilton (Iggy Pop, Juiceboxxx) and recording at Studio
G Brooklyn. In a profound evolution of their previous work, the 11- track album
encompasses sharper arrangements and stickier hooks and a more explosive
energy — an effect often achieved through the sheer force of their three voices
singing in unstoppable unison.

Perhaps because bassist Jennifer
Finch left the band during the recording
sessions, 1996’s The Beauty Process—
Triple Platinum has never quite gotten its
due. But Donita Sparks counts it as her
favorite L7 album; it’s simultaneously the
heaviest record they ever released, and
the most varied, with delicate songs like
“Me, Myself, and I” and “Moonshine”
contrasting with the
metal-verging-onindustrial mayhem of
“Drama.” Black vinyl
pressing inside a jacket
with printed inner sleeve.
Rawk on!

Watford born indie rock goddess Connie Constance announces
her new album, ‘Miss Power’, a bold collection of songs imbued
with high voltage drums, snarling guitar riffs, and anthemic feminist
rage.
 On ‘Miss Power’, Connie takes us on a joyride through dramatic,
passionate and empowering scenes with hooks aplenty and lyrics
that excitedly unpick heartbreak, Connie’s strained relationship
with her father and her struggles with mental health.
 Connie’s titular and much acclaimed first single from her new
album, ‘Miss Power’ earned itself a spot on the BBC Radio 1 C list,
as well as being named Hottest Record by Radio 1’s Clara Amfo,
with plays from Jack Saunders, Ricky, Melvin and Charlie and Vick
and Jordan.
 The album announcement comes alongside the release of a new
single, ‘Till the World’s Awake’, a life affirming indie dance track
that twinkles with bright, layered guitars atop driving basslines and
powerful drums. Connie Constance’s dynamic yet delicate vocals
swell to a thrilling, cathartic chorus: “When we are young and
when we get older / I want to feel like loving, feel like loving you.”
Connie’s venture into the world as her authentic self is palpable.
 “A strikingly effective combination of disparate strains of British
pop: the quasi spoken verses bristle with the barked beauty of
Paul Weller; the cathartic chorus reaches Florence worthy heights”
- The Guardian
 “Brand new music from the brilliant Connie Constance. She’s real
fun, I rinsed ‘Kids Like Us’ on this show, and I love this one. Just
instantly catchy and empowering. empowering.” - Clara Amfo
 “She is one of the most exciting artists around at the moment. I
saw her live and just knew she was going to be special” - Arielle
Free
 “This indie pop banger ‘Miss Power’ is an instant confidence
booster” - The Fader

Fred "Sonic" Smith - lead vocals, lead guitar (saxophone on C2) Scott Morgan - guitar, vocals (lead vocal B1 and B4) Gary Rasmussen - bass, vocals (lead vocal C1) Scott "Rock Action" Asheton – drums. A Real-O Mind Production • Possibly the last live recording of Sonic’s Rendezvous Band who broke up in spring 1980 • The Band almost a supergroup, formed out of the ashes of Detroit’s finest The Stooges, The MC5, The Rationals & The Up • This complete concert recorded on home turf at the Second Chance in Michigan sees the introduction of new songs China Fields, American Boy, Flight 505 into the set already crammed with live favourites Heaven & Earth, Sweet Nothing, So Sincerely Yours, Earthy, and of course the one and only recorded song, City Slang • Vinyl presented in a gatefold sleeve with printed inner bags and liner notes by Ken Shimamoto. SIDE A A1. Song L (3:56) A2. You're So Great (3:18) A3. Sweet Nothing (5:46) A4. Hearts aka Detroit Tango (4:43) SIDE B B1. Heaven & Earth (4:03) B2. Gone With The Dogs (5:55)

LP colour is Transparent Blue. Stu Spasm (Lubricated Goat) + Russell Simins (Jon Spencer Blues Explosion) + Kate Bjelland (Babes In Toyland). One off garage-sleaze rock masterpiece. Remastered. Crunt began in 1993 as a kind of indie rock supergroup and had their 1994 debut album touted by Pearl Jam's Eddie Vedder. Crunt's members included guitarist/vocalist Stuart Gray (aka Stu Spasm) and bassist/vocalist Kat Bjelland. Gray was well-known in Australia by the start of Crunt for his past involvement in the bands Salamander Jim and the horn/guitar punk rock of Lubricated Goat, which included drummer Martin Bland who went on to play in the Monkeywrench. As for Bjelland, she was the frontwoman/guitarist for the Minnesota-based Babes in Toyland. Crunt was rounded out by drummer Russell Simins, who was the full-time sticksman for New York City's Jon Spencer Blues Explosion. Each of Crunt's members were temporarily residing in Seattle when Gray conjured up the idea of starting a new group. After writing almost a dozen songs, the trio entered Seattle's Ranch studio in February of 1993 with Simins and Gray acting as the producers, and their friend John Dunleavy -- known for his work with the Supersuckers -- filling the role of engineer. A year passed before the group's self-titled album was released on February 15, 1994, on Austin, TX label Trance Syndicate, owned by Butthole Surfers' drummer King Coffey. The record was the imprint's first release from a non-Texas group. The debut of the full-length album coincided with the "Swine"/"Sexy" single on Australia's Insipid label, which was known for releasing singles by other bands such as the Cows, Urge Overkill, and the Jesus Lizard. Prior to the releases, there had been talk that the band was not going to just be a side project, but a full-time band in the same tradition as Babes in Toyland and the Blues Explosion. The trio had even planned a full-scale tour. By January of 1995, however, Crunt came to an end.

Hear angel trumpets and devil trombones on the first instalment of the long awaited ‘Plastic Legacy pt II’ from transcontinental punk trash band Pale Angels. The album boasts soaring melodies and tortured guitar tones anchored by a fuzz bass guitar that sings uniquely yet thumps rhythmically. ‘Plastic Legacy pt II’ sees Pale Angels’ Jamie Morrison and Michael Santostefano joined by Jerome Westerkamp (songwriter for Cincinnati, Ohio’s Vacation) on drums. Returning after 6 years to longtime friend and producer Benjamin Greenberg (uniform, Christfucker, danny elfman) to create a masterpiece of gut-wrenching sincerity and sensitivity. Track listing: Killer; Casper; 21 Days; Must Be Love; Halloween; Thorn; Little Lover; Rahway

Rose For Bohdan return with their 5th full length album in full rock mode (w/ David Gorilla and Kerri Kerang on drums). Beyond high energy anthems filled with blistering electronics, thunderous bass/drum combo, and instantly catchy boy/girl vocal hooks. Inspired by living in Los Angeles, from the ADHD pace to the still unresolved undertones of racial tension to the youth that lights this town up with hope. No Rose For Bohdan album has ever been released on vinyl, so we're here to fix that problem, beginning with the high water mark for the band. Noise poppunk that takes wild twists and turns, bathed in ridiculous energy. This is fun insanity. TRACKLIST: 1. Friends Forever 2. Peter and the Rabbit and the Wolf 3. Thunderstorm Summerschool 4. The Fashion Show 5. I'm 6. The Amazing Bird the Shit in a Bag 7. The Fear 8. Covered In Monkeys

Aussie beatsmith, Phries, returns with his third full length producer compilation LP, Hand Cut. This 2XLP aligns the talented producer with his stateside contemporaries such as Guilty Simpson, Phat Kat, The Artifacts and more. We also find Phries realigned with Mount Vernon’s Carta’ P, after previously collaborating together on their 2021 released, My Silence. Inspired by the likes of J Dilla, Pete Rock and Madlib, Phries utilizes sample-based production, coupled with thick bass lines and smacking drums, to create a body of work that epitomizes hip-hop in its purest form. To boot, all source material used throughout the album are from records that Phries discovered at local record shops in his native Perth. The two disc LP includes both the main and instrumentals, and becomes available via Regina Records in partnership with Fat Beats. TRACKLIST: 1. Love H.E.R. (Intro) 2. Hand Cut 3. Reality (feat. Guilty Simpson) 4. Bad Critics 5. The Otherside (feat. Carta’ P) 6. Just a Dream 7. Louis Feat. Phat Kat 8. Detroit City (feat. Guilty Simpson) 9. Don't Sleep 10. Flawless (feat. Artifacts) 11. Outro (The Made) 12. The One (Bonus Beat) 13. Reality (Instrumental) 14. The Otherside (Instrumental) 15. Louis (Instrumental) 16. Detroit City (Instrumental) 17. Flawless (Instrumental)

The expansive & emotive, 'Screamnasium' is O R k's most essential album
to date - Spontaneous yet intricately crafted, it is perhaps the most
concise statement of the band's sonic aims yet. With the quartet having
formed a strong creative bond over the course of three previous studio
albums & with countless miles clocked up on tour, the highly anticipated
follow up to 2019's acclaimed 'Ramagehead' has finally arrived
The pent up, derailed energies of O.R.k. have found a release with their gutsy &
striking new album 'Screamnasium'.Setting the pace, lead single/ album opener
'As I Leave' delivers the distilled O.R.k. spirit directly to the listener. Lef's powerful
vocals, Carmelo Pipitone's energetic riffing, Pat Mastelotto's inventive rhythmic
accompaniment & Colin Edwin's distinctive bass tones all infuse 'Screamnasium'
with a refreshed intensity & a new luminosity. Energy levels are maintained
throughout the 42-minute runtime as O.R.k. state the case for optimism, tolerance
& inclusivity - these are hopeful anthems for an increasingly uncertain world.
A highlight is 'Consquence', where Lef spars with Grammy winning vocal phenom
Elisa, best known outside her native Italy for her collaboration with the legendary
Ennio Morricone on Quentin Tarantino's 'Django Unchained' soundtrack.
Album closer 'Someone Waits' features virtuoso cellist Jo Quail who provides
seductive, intertwining melodies which contrast the huge riffs underpinning
Screamnasium's sound.
The creative duo of Grammy winning art director Adam Jones (of Tool) & Marvel/
DC Comics illustrator Denis Rodier have handled the artwork & layout to create an
iconic album artwork with remarkable visual imagery, while mixing & Mastering
duties have been undertaken by Machine (Lamb of God, King Crimson, Clutch).
Encompassing a wide breadth of emotional landscapes, 'Screamnasium' is the
perfect catharsis for our troubled times.

A mysterious object is revealed; the drum sound of the rite arouses;
flares are blazing; the soul slides through water's surface; the breath
lights up the air; the body as a sacrifice, I hear myself, in this dream - The
12 songs that constitute Dreams, the third full-length from the Kaohsiung
trio Elephant Gym, explore the deep spacetime continuum that
consciousness cannot capture
Beyond the trio's staple instrumentation of guitar, bass, and drumset, Dreams
blends in wind instruments, traditional drums, and Taiwanese narrative. Through
collaboration with Hakka singer- songwriter Lin Sheng Xiang and pop musician
9m88, notable for their accomplishments in jazz, soul, and R&B, Dreams is a
sweeping narrative about a fantastical dream that crosses the boundary. After
pressing play, please do close your eyes, and enjoy the dream. Pressed on Orange
color vinyl.

'The Size Of The Night' is Peter Kernel's fourth studio LP, originally
released in 2018
The duo is composed of Barbara Lehnoff (Camilla Sparksss) and Aris Bassetti,
who are trying to accept that they can be both sensitive people and huge jerks.
And that it's ok. Considered a little masterpiece among indie rock critics, this
album expands the noise pop spectrum through larger ambitions and new
instrumentals.

Misanthropic carnage CLEAR / RED SPLATTER VINYL Re-Release Here is yet another masterpiece from Dutch Death Metal stalwarts Severe Torture. Still retaining that unique chunky sound this album delivers 9 tracks of technical and ferocious mega-bass blasting Death Metal. Those who were into their “Feasting on Blood” album should definitely lay their hands on this one. The production is brilliant on both the sound and album production levels. This is what Brutal Metal should sound like. The vocals sound as though Satan sung them himself. The guitar, bass, and drum playing is some of the tighest I’ve ever heard from this genre. The riffs have a very evil, unforgiving sound. Severe Torture’s sound has definitely matured from their previous releases. Sick cover art work by Joe Maloney makes this album more compelling to many Death Metal fans around with a taste for sickness. Definitely a must-buy!

The renowned trio of Keiji Haino, Jim O’Rourke and Oren Ambarchi return to Black Truffle with their 11th release, “Caught in the dilemma of being made to choose” This makes the modesty which should never been closed off itself Continue to ask itself: “Ready or not?” Demonstrating once again their commitment to continual experimentation in instrumentation and approach, the record begins with a long-distance collaboration made in response to a commission from New York’s Issue Project Room in 2021 during widespread lockdowns and travel limitations. A unique piece in the trio’s extensive body of work, this side-long epic finds Haino performing on metal percussion, O’Rourke on electronics and Ambarchi on gongs and bells. Initially dominated by rapid patterns on resonant, high-pitched tuned percussion, the piece sets Haino’s dynamic and dramatic performance against a calm backdrop of cycling electronics, thrumming gong strikes and hanging bell tones. The performance develops a heightened, intensely concentrated atmosphere reminiscent of Haino’s classic Tenshi No Ginjinka or his Nijiumu project; when Haino moves to clashing hand cymbals in its second half, the piece’s ritualistic energy suggests aspects of the music of Tibetan Buddhism.

The remainder of the double LP documents the trio live at Tokyo’s SuperDeluxe (the location of all but their very first recording) in a wide-ranging set recorded in December 2017. The concert opens, in another first for the trio, with Haino on drums, O’Rourke on Hammond organ and Ambarchi on his signature Leslie cabinet guitar tones. Haino’s explosively untutored approach to the drumkit will be familiar to some listeners from the radical duo iteration of Fushitsusha heard on Origin’s Hesitation. Setting flurries of rapid activity against moments of silence, his drumming here at times suggests Milford Graves in its tumbling toms and thudding kick-drum propulsion. Accompanied by O’Rourke’s organ and Ambarchi’s guitar, which in their shared use of long tones and shifting modulation speeds almost blend into a single voice, the opening sections of this performance are some of the most magical music the trio has committed to tape thus far.

After an interlude of spoken vocals in both Japanese and English, Haino makes a dramatic entrance on guitar. Against O’Rourke and Ambarchi’s increasingly intense electronic backdrop, Haino unleashes a stunning passage of slowly moving chromatic melodies and sudden shrieking explosions bathed in distortion and reverb. By the time we reach the third side, the guitar/bass/drums power trio is established and lurches into a passage of massive, lumbering rock that threatens to fall apart at every beat, O’Rourke’s strummed chordal work on six string bass creating a harmonic density equivalent to a second guitar. An abrupt edit throws the listener in media res into a frantic locked groove grounded by fuzzed out bass patterns and caveman drums. As Haino moves through a variety of approaches, from massive edifices of stuttering fuzz to ominous swarms of feedback, the trio eventually stumble into a kind of Harmolodic military tattoo, Haino’s guitar weaving and slashing across the rhythm section’s irregular accents. Moving through an epic opening duet for O’Rourke on Hammond and Haino’s wailing guitar, the fourth side eventually ramps up into a frenetic finale of mad bass riffing, crackling snare hits and guitar squall.“Caught in the dilemma of being made to choose” This makes the modesty which should never been closed off itself Continue to ask itself: “Ready or not?” is a testament to the continuing power and invention of this trio, who continue to seek out new terrain after over a decade working together. 2LP set presented in a lavish gatefold sleeve on heavy stock along with inner sleeves containing live pics by Tsuyoshi Kamaike. Photography by Jim O’Rourke, design by Lasse Marhaug and translation by Alan Cummings.

Vinyl only

Zurescen Records... A new UK based label with a focus on purely vinyl and bringing some high quality releases. To start things off Jase delivers Zure01 which consists of 2 full sides of stripped back minimal tools. On the A side 'The Shapers', a straight up dreamy journey with a tight bass and shuffling hats with plenty of energy for the dancefloor. B side 'Ectopic' is a serious tool to drop anytime, with its cheeky bass, mad modulations and twisted vocals. A record worth bagging!!

Far over on the west coast of the USA we find a room full of drum
machines, samplers and keyboards. Hard at work is Israel ‘Iz’ Gravning aka Tone Scientist, who’s been using this Seattle studio to produce genre-defying future music for more than 25 years.
An avid student of jazz fusion, hip hop, house, techno and others, he
was galvanised to build his own studio after hearing jungle and drum & bass on a trip to London in 1995. His musical course thus intersected with the collectives then pushing new dancefloor sonics rooted in the rich tradition of Black music – like Nuyorican Soul over on the east coast, and the new broken beats of IG Culture, Dego and Bugz In The Attic in London. Then, in the early 2000s, Iz put out a handful of EPs under different aliases, including ‘Lion Dub’ on the Guidance sublabel Subtitled, but soon stepped back from the public stage. That’s not to say he stopped making or playing music, though. Far from it. Fast forward two decades and our very own Walrus, chilly but happy in the depths of a Toronto winter, happened across ‘Lion Dub’ in the legendary Play The Record store. Intrigued, he tracked Iz down and discovered he had been active all this time. A short email exchange later and this 2xLP of archive material was born.

These six tracks explain fully why Iz calls his studio the ‘Time Machine’: vintage equipment and instruments converse with up-to-date software; classic sounds and textures twist into fresh configurations; and Iz’s own creativity and musicality sings to us from a location beyond the trappings of time or genre.

All music written, produced and mixed by Israel Gravning aka Tone
Scientist in Seattle/Washington between 2005 - 2008 except for “Things

OBISIOUS sind mit ihrem Debütalbum "Iconic" führend in der modernen Evolution des progressiven und technischen Metals. Die Band, bestehend aus Linus Klausenitzer (Bass), Rafael Trujillo (Gitarre), Sebastian Lanser (Schlagzeug) und Sänger Javi Perera (Gesang), hat ihre Wurzeln in Obscura, Alkaloid, Eternity's End und Juggernaut. Obsidious sind jedoch eine ganz andere Kreatur. Iconic ist technisch, aber nicht aufdringlich. Das Album atmet Intensität, baut sie aber mit sanftem Geschick weiter aus. Bei Obsidious gibt es immer eine Hook. Iconic baut auf einem prestigeträchtigen Fundament auf, aber seine Vision ist nicht auf seine Grundsätze beschränkt.
RIYLs: OBSCURA, ALKALOID, OPHIDIAN I, ORIGIN

OBISIOUS sind mit ihrem Debütalbum "Iconic" führend in der modernen Evolution des progressiven und technischen Metals. Die Band, bestehend aus Linus Klausenitzer (Bass), Rafael Trujillo (Gitarre), Sebastian Lanser (Schlagzeug) und Sänger Javi Perera (Gesang), hat ihre Wurzeln in Obscura, Alkaloid, Eternity's End und Juggernaut. Obsidious sind jedoch eine ganz andere Kreatur. Iconic ist technisch, aber nicht aufdringlich. Das Album atmet Intensität, baut sie aber mit sanftem Geschick weiter aus. Bei Obsidious gibt es immer eine Hook. Iconic baut auf einem prestigeträchtigen Fundament auf, aber seine Vision ist nicht auf seine Grundsätze beschränkt.
RIYLs: OBSCURA, ALKALOID, OPHIDIAN I, ORIGIN

Club Glow powerhouse and all-round Bristol bass-bin baiting badman Borai returns to his Higher Level label with three new drops of elevated breakbeat science. As well as his work alongside Denham Audio, L Major and Mani Festo in Club Glow, Borai has been busy landing uptempo slammers on Hardcore Energy, Vivid, E-Beamz and Infiltrate in the past couple of years, and he returns to home turf in peak shape.

The A side lights up with the dizzying break-juggling ruffness of 'Lights On', a surefire call to squeeze the last juice from the party, while 'Bobbi' opens the B side treading an artful line between deep and depraved as immersive tones face off against taut, driving rhythms. 'Sargasso Sea' smooths the proceedings out good and proper in true B2 style with a pitched-down slice of soul-charged broken beat that smacks where it counts, Borai's established instinct for forward-facing melody shining through in the interplay between 90s keys, diva vocal samples and illustrious pads.

Patricia Barber's 6th studio album is a fascinating collection of classic cover songs shaped by her inimitable downtempo intimacy into startlingly affective journeys through the human condition. Working with her band of the time (bassist Michael Arnopol and drummer Adam Cruz, augmented by star turns from guitarist Charlie Hunter, bassist Marc Johnson, and drummer Adam Nussbaum), Barber creates an atmosphere of austere trepidation that allows her long-time engineer Jim Anderson to hang her haunted vocals directly over top. Like all great jazz albums, Nightclub puts the highlighted artist front and center while carving out plenty of space for the supporting players to give emphatic support.

Impex's 1STEP process provides the perfect showcase for Anderson's peerless audio immersions. Nightclub was originally digitally recorded on a Sony 3348 multi-track and mixed through a Neve analog console to both digital and analogue mix-down masters. Bernie Grundman used the analogue mix-down tapes to assemble a new analogue cutting master exclusively for our 1STEP. Coupled with the incredibly detailed VR-900 vinyl formula, there is instrument detailing to spare, a Mariana Trench noise floor, and incredibly-focused low end. There is simply no better way to enjoy Barber's cool renditions of timeless classics than this one (including the exclusive, never-before-released bonus track "Wild Is the Wind"). Limited to 7,500 pressings!

The 1STEP Process:
The Impex 1STEP process relies on short, tightly-controlled runs that require a new lacquer after each 500 pressings. This unforgiving format has the lacquer skipping the regular father-mother process, going right to a single convert and then pressing. Though this dramatically increases mastering and production costs, it also assures each run is more consistent from disc to disc, with less noise, clearer details and deeper bass.

Reducing production complexity to just a single "convert" disc between the lacquer and the press greatly improves groove integrity, diminishes non-fill anomalies and increases signal integrity from the master tape to your system.

Mastered by Bernie Grundman from the Original Mix-Down Analogue Master Tapes
Pressed on VR-900 Super Vinyl for Incredible Detailing, an Epic Soundstage & Near-Silent Surfaces
Exclusive Ultra-Luxe Impex 1STEP Packaging
Deluxe 12-Page Booklet within a Three-Sleeve Monster Pack Jacket
Colour-Matched Slip Case
Never-Before-Released Studio Session Track "Wild Is the Wind"

The purest reflection of DRS as a musician to date, his self-titled 'Del-Rok-Ski' album sees one of the most heavyweight lyricists in the game delve deep into the intricacies of himself to deliver an honest, inward, and characteristically beautiful work of art. His fifth album in the space of three transformative years, the Manchester-based artist has found a home for his latest album on Shogun Audio, traversing an eclectic and beguiling selection of sonic soundscapes across twelve of the purest tracks that you'll hear this year.

Whilst incorporating the powerful messaging and undeniable lyrical expertise that DRS has demonstrated for over a decade, 'Del-Rok-Ski' offers something that none of the previous albums has been able to. Marking two years sober, this latest offering investigates previously unexplored territories for DRS. "I feel like music has never been me", says the vocalist, who truly feels that this album, which evolves from moods of darkness and loss to those of lightness and hope, is an unadulterated reflection of himself to its core.

Teaming up with a selection of hugely talented collaborators, including the likes of Calibre, LSB, Dub Phizix, Duskee, Disrupta, Monrroe, and many more, 'Del-Rok-Ski' sees DRS serve up a heartfelt, intimate, and personal lyrical journey that is arguably his best work to date.

Through the heartwrenching, high-energy feels of 'Can't Explain (Faded) ft. Document One', summer anthems such as 'Waiting To Go ft. Disrupta & Duskee' and 'Heavens Not Cheap ft. Drumantle', certified dancefloor destroyers like 'Comme Ci' and 'They Ain't Listening', which are both produced by T95, and many other gems embedded in this album, DRS further cements his reputation as one of the most unique, talented, and iconic lyricists to ever grace the drum and bass scene.

"I feel like I've never been so cleared-headed during my whole career of making music. 'Del-Rok-Ski' is me.
DRS

To celebrate the forthcoming release of 'Del-Rok-Ski', DRS is now embarking on 'The Man Who Fell To Earth Tour', which sees him tour the U.K and work with 8 Gold Rings, Dom Lawson, and Dogger to curate a deeply personal Live Show that'll see appearances from numerous special guests up and down the country.

blue marbled vinyl

Blissful atmospherics wash behind heavy amens on Spacewalk, tightly constructed old school style breaks thump along with subtle effects create a vibe that will take you to a world beyond ours.

A distinctive crisp unorthodox beat pattern opens Oceans and sets the tone for this beautiful composition of smooth pads and earthy bass-lines, a dreamy treat which builds the vibe as the track progresses.

Messages from Space opens with a mellow, eerie intro that washes in before the Spectrum breaks - heavy on the ride cymbals - take centre stage in this lunar-inspired composition.

Energetic rapid-fire break work punctuates Quiet Storm with drum funk vibes that sound immense at this BPM - playfully filtered, surrounded by delicate atmospherics and an understated vocal sample - a treat for the breaks fans.

Words by Chris Hayes (Spatial / Red Mist)

Das zweite Album der Kölner Band „Is There More Past Or More Future“ erklingt im Vakuum zwischen Retro und Zukunft, zwischen lebendigem 70er psychedelic und modernem Pop-Songwriting. Man verliert sich, um diese ganz eigene, melancholische Euphorie zu feiern. Der typische ACUA- Sound bedeutet spacige Gitarren, energetische Drums, torkelnde Synthesizer und singende Bass-Lines.

Longtime underground star Francesca Lombardo steps up to Ovum with a trio of superb new signature sounds. Italian Lombardo has been crisscrossing the globe and headlining all its most tasteful clubs and festivals for many years. Her powerful, heartfelt grooves have come on the most influential labels of the day and her critically acclaimed debut album 'Life of Leaf' showed that she can do all sounds and styles from downtempo to pop with equal skills. Her mix of innovation and compelling grooves continues on this latest EP. The vocals on the opener 'Magic Moment' are a poem Francesca's friend Victoria sent to her. She kept them for four years before ?nding the special inspiration that encouraged her to use them in these writing sessions. They lend the tune an intimate feel and draw you in deep to the elegant house drums and warming synths. It's an uplifting and classy tune with a standout Moog bassline that will lock in the floor. After the dub version is 'Sea,' a much more twisted and peak time techno tune. The synths are spangled over jacked-up drums, with edgy textures and late-night menace all making it a sure-?re winner This is another tasteful take on techno from Francesca Lombardo.

Moiré's rain-streaked and masterful Circuits album dropped this past September. RA's Andrew Ryce stated the eight-track album cast the shadowy producer into "a rarefied air occupied by the only the finest and most influential of ambient techno artists."

Now, in short order, the label returns with a remix EP charting out multiple hubs of oblique dance floor innovation. If there's a sonic motif on the A-side, it's vastly reactive interpretations of the "factory floor" element that inspired techno's pioneers. Matthew Herbert, a pioneering force in his own right, mixes steam engine percussion with the dreamy atmospherics of "Circuit 15" and comes up with eight minutes of cerebral machine funk. Tolouse Low Trax, meanwhile, continues his masterclass in modern motorik on his remix of "Circuit 7," integrating a chiming piano into a fascinating, perfectly-timed 110 BPM rhythm.

The B-side, meanwhile, doubles down on the oneiric nature of the original material. Workshop head and Avenue 66 alumnus Lowtec builds allows "Circuit 04"'s synths to billow into Gas-like immersive layering, sheets of melody are anchored by a restrained beat for an ambient techno track that doesn't tip the scales too far in one direction or the other. Rather, it achieves a perfect balance. Hamburg/Dial mainstay Lawrence closes things out with his version of "Circuit 18," which also concludes the original album. While the original has a wistful, Deckard's dream quality, Lawrence's version is deeply-rooted in the late-night German style; a low-slung bassline will keep dancers deeply rooted while those wistful chords sweep in like the violet before dawn.