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A national musical treasure" The Guardian // Steven Adams, formerly of The Broken Family Band releases new album DROPS on Fika Recordings in November 2023. Since calling time on TBFB at the height of their success, Adams has released half a dozen albums under various names (Singing Adams, Steven James Adams, Steven Adams & The French Drops), his witty, incisive lyrics and melodic sensibilities taking in DIY indie rock, folky introspection, and off-kilter pop hooks. Originally from South Wales, Adams now lives in East London. “Every record I’ve made has been in a hurry of some sort” says Adams of his new album, “and with this one I took my time”. DROPS is the first album to be credited to him as a solo artist since 2016’s Old Magick, his first new music since 2020, and his noisiest record to date. Armed with a new batch of material, he began by upping sticks to the Welsh countryside to experiment with drummer Daniel Fordham and bassist David Stewart - both formerly of psych oddballs The Drink. The trio then took the songs to Big Jelly, a converted chapel on the south coast, with co-producer Simon Trought (Comet Gain, Johnny Flynn, The Wave Pictures) to lay down the basic tracks for DROPS. Eschewing a full band set up (“I wanted to concentrate on one thing at a time”), recording sessions in East London followed with Laurie Earle (Absentee) on guitar and Michael Wood (Hayman Kupa Band, Michaelmas) on keyboards. Adams then took the recordings home and to the French countryside, to work alone. “I finally got my head around home recording in 2020, while things were a bit quiet. Once I worked out how to record things I realised I didn’t have to think about time. I could let the songs evolve and change once we had the basic tracks down. After a while I started to think of them as paintings; trying something one morning, painting over it in the afternoon and attempting something completely different… it was about enjoying the process, making some bangers, playing around... and giving Simon the producer a mess to sort out when it came to mixing the record". Whenever Tom from Fika Recordings checked in to see how the album was progressing Adams would reply, “it’s taking ages but it’ll sound like it was recorded in an afternoon”. The result is a dynamic and spirited collection of songs, with Adams's love of 90/00s US underground rock (Pavement's Bob Nastanovich is a fan) to the fore. DROPS is a sonically compelling piece of work: from bleak/exultant opener Out to Sea and the motorik Living in the Local Void to the weirdly funereal Fascists (where Adams imagines the “little skip in our steps” that we’ll have upon outliving some baddies), and Day Trip's psychedelia in miniature. There are also moments of tenderness: the avalanche of empathy on closing track Cheap Wine Sad Face, and I Tried to Keep it Light’s “worse things could happen… I don’t know how, but give me time”. Adams says: “I'm preoccupied by the passing of time and the way it affects how we feel. This record is about time and bewilderment and trying to make sense of things". “…astonishing tenderness in its simplicity … brilliant lyrics.” Q Magazine //“…the tunes are instant and uplifting, but the real wallop comes from the lyrical imagery.” The Guardian // “…barbed modern life chronicles.”

Gombloh’s forgotten masterpiece

What if you have Brian Wilson and Bruce Springsteen rolled into one? And what if he came of age as an poor buskers in in Surabaya, Indonesia, but then summoned enough strength to record six albums that flew in the face of everyone in the country’s rock scene back in the early 1980s?

Genius, be they Brian Wilson or Soedjarwoto “Soemarsono” Gombloh, don’t conform to rules written for us mere mortals. They have their own way of doing things and in the case of Gombloh, writing music, conducting recording session and spending cash from his music, must be conducted on his own terms and his terms only. Studio time was expensive back in the early 1980s, yet Gombloh could be three-hour late for his session, and while engineers, session musicians and producers were jittery about the prospect of another botched session, Gombloh took his time for a nap before the recording begun.

Yet, some of his greatest works came into being in the wake of this napping session. Recording session for Sekar Mayang is no exception, despite the fact there’s foreboding sense of doom with Gombloh being unsure about the possibility of selling enough units to help his label break even. This is, after all, this is his last record with his band Lemon Tree’s. No one knew that Gombloh was operating with all his cylinders running and what came out of this Indra Record session, in the waning days of 1980, were some of the best compositions ever committed to magnetic tapes (to wax, if now you’re holding this on vinyl).

This is Gombloh at the peak of his creative genius. You can argue that his debut album Nadia & Atmospheer (what’s with the spelling mistake?) is the most sprawling and complex album (both sonically and thematically), but Sekar Mayang certainly had the best songs and I can make the argument that this album’s 10 songs are strong contenders for biggest hits in blues, country, psychedelic rock charts. “Prahoro & Prahoro” is one of those impossible song which appears to have sprung from a bottomless well of inspiration, encompassing King Crimson’s sprawling epic, Deep Purple’s deepest blues and Genesis’ most progressive tendencies. Or “Sekaring Jagat”, which begins as Lennon-McCartney lullaby before launching a thousand ships traveling to the end of the rainbow with children choir singing heavenly melodies backed by droning harpsichord and synclavier, while a buzzing Hammond B3 tightly locks with Gombloh’s guitar strumming.

For many of his fans, Gombloh is known as generous man of the people. A Robin Hood type if you please. He spent his royalty checks to buy foods for beggars and buskers and dish out some more to buy undergarments for Surabaya’s prostitutes. In Sekar Mayang, Gombloh went full Springsteen mode in “Mitra Becakan,” a social commentary that cut so deep you can end up with tears in your eyes and lump in your throat (even if you don’t understand any of its Javanese language lyrics). This is one the most devastating social commentary ever recorded for a pop song, and even if you discount the greatness of its musical composition, you chalk this up as a great social-realism poetry. His years of hanging out with pedicab drivers, street vendors and street-bound prostitutes certainly gave him enough insight into their (in)human condition.

Yet, a record this stellar was largely forgotten. First, this record was a flop upon its release in 1981. Indra Records reportedly only did one pressing on cassette tape and be done with it. For those who were lucky enough to have come across one of songs from this album on the radio were likely growing up in East Java, where Gombloh had a massive cult following early in the 1980s. Nothing was heard from this record again.

There were only a handful of cassette tapes from the first pressing found on second-hand market and I recently stumbled upon one online with a price tag of Rp 50 million (US$3,500). It’s no longer available now.

In Sekar Mayang, Gombloh harbours an obsession for a long-lost utopia, Java’s distant past, where farmers have their barn full of rice and corn, where blacksmith working around the clock making tools and children singing and dancing in their seminaries. Or the fact that he opens the song with stanza from Serat Weddhatama, arguably the most monumental poem in neo-classic Javanese literature, could be his pledge of allegiance. The question for him is should a modern-day Indonesia, rife with poverty, corruption and environmental degradation not be an anathema to that utopia?

In the end, you don’t need to be someone fluent in Javanese to enjoy this majestic record. And if this record turns out to be the last in Elevation Records catalogue and we shut down this label tomorrow, we will be very happy. Mission accomplished!

After a string of two dozen brilliant albums beginning in the 1950’s, clarinetist, saxophonist, flutist,
composer and arranger Jimmy Giuffre stopped recording. For nearly ten years he focused solely on
live performance. This album, Music for People, Birds, Butterflies and Mosquitoes, marked his return
to the studio after his self imposed hiatus. Known for developing forms of jazz which allowed for free
interplay between the musicians, Giuffre began his career as an arranger for Woody Herman’s big
band in the late 1940s. Playing primarily saxophone, he became a central figure in the West Coast
cool jazz scene of the 1950’s, with the Lighthouse All Stars in Hermosa Beach, CA. In the late 50’s, he
began working within different configurations of the trio format, on what he called “blues-based folk
jazz.” A prime example being his piece "The Train and the River" famously featured in 1958 Newport
Jazz Festival concert film, Jazz On A Summer’s Day. The trio here is completed by drums and bass
with Giuffre trading seamlessly between tenor saxophone, clarinet, flute and bass flute. The twelve
original compositions are very much in Giuffre’s signature style. The melody explorations have an
eastern vibe, and are played in hushed tones with an almost chamber music like quality. From 1973,
originally on the Choice label, this album has been remastered and is being presented here as the
artist intended, with its original title, track order and album artwork, for the first time since its original
release. Remastered by Alex McCollough at True East Mastering. Vinyl cut by Jeff Powell at Take Out
Vinyl.

In the late 1970’s Athens, Georgia was buzzing with a raw but sophisticated music scene. The turn of
the decade began producing new sounds from bands like the B-52’s, R.E.M. and Art-Rock luminaries,
Pylon. Before they were a band, Pylon were art-school students at the University of Georgia:
invigorated by big ideas about art and creativity. In 1980 the band released its first record, Gyrate and
began touring across the country in support of the release. Following the critical acclaim of Gyrate,
Pylon went back into the studio. They gleefully pulled their songs apart and put them back together in
new shapes, revealing a band of self-proclaimed non-musicians who had transformed gradually but
noticeably into real ones. The resulting album was, Chomp. Now, more than three decades later, both
studio recordings have been remastered from their original audio tapes and are set for release on New
West Records.

In the late 1970’s Athens, Georgia was buzzing with a raw but sophisticated music scene. The turn of the decade began producing new sounds from bands like the B-52’s, R.E.M. and Art-Rock luminaries, Pylon. Before they were a band, Pylon were art-school students at the University of Georgia: invigorated by big ideas about art and creativity. In 1980 the band released its first record, Gyrate and began touring across the country in support of the release. Following the critical acclaim of Gyrate, Pylon went back into the studio. They gleefully pulled their songs apart and put them back together in new shapes, revealing a band of self-proclaimed non-musicians who had transformed gradually but noticeably into real ones. The resulting album was, Chomp. Now, more than three decades later, both studio recordings have been remastered from their original audio tapes and are set for release on New West Records.

As soon as Spike discovered punk, he wasted no time forming Reptile Ranch (Wales’ own Scritti Politti), starting a label (Z Block), and releasing the compilation of the Cardiff scene, Is The War Over? After an act dropped out of the cooperatively-funded venture, Spike approached the disbanded Young Marble Giants to contribute a track or two. Bemused, they agreed to reform, and it wasn’t long before Rough Trade rang the public phone listed on the back cover of the LP to poach the combo, leading to an album which hit immediately and has inspired hundreds of artists since. All the while, Spike worked with Debbie Pritchard in a number of unheard bands - but that’s another tale. After YMG’s breakup, singer Alison Statton started Weekend with Spike and Simon Booth, a project which saw chart success and the birth of a nouveau-retro style as individualistic as YMG’s, one later co-opted by lesser acts. Weekend, too, split after their debut album. Despite Weekend having become Alison’s second big act, Rough Trade passed on her next project with Spike. Vinyl Japan stepped in to release the duo’s debut, Tidal Blues and other releases followed, but as real life, jobs, and children beckoned, both Alison and Spike stepped away from music . . for more than twenty years. Their return is both unexpected. Bimini Twist is the work of the two alone. Apart from some vocal tracking in a local studio to best capture Alison’s still wondrous voice - everything was recorded in their homes, much of it ‘live’, and these new songs show the duo’s charm and diversity, featuring Alison’s most personal lyrics and Spike’s peculiar musical genius

They're baaaack_.. While Brainstory is in the studio finishing their sophomore full-length, they treat us to this bombshell of a 7" as a taste of what's to come. They teamed back up with El Michels Affair who is handling production on the whole album and everything about this is leveled up. This show stopping plug & ballad two-sider is clear evidence of that. Side A is an uplifting, dance floor burning, smash hit that shows what years of touring and backing Lady Wray have brought out of Brainstory. "Nobody But You" is built on drummer Eric Hagstrom's crushing back beat that lays the foundation for this inspirational feel good banger that manages to take the uncomfortable truth that "nobody will save you but you" and turn it into pure blissful motivation. Then they drop a ballad on the flip side that is going to cause an entire scene to reconsider how they are doing it. The B side "Gift Of Life" is drop dead gorgeous, haunting, and profound all at once. An homage to the mysteries of life and the intangible truths that the human experience is built on.

Most of Gen X-ers who grew up in the mid-1980s Indonesia must have seen Soedjarwoto Soemarsono, known with his nom de guerre “Gombloh” performing on a state-run television station, playing some of his biggest hits from that era, pop gems like “Kugadaikan Cintaku (I Pawn Off My Love)”, “Setengah Gila (Half-Crazy).”

But of course, it is not fair to judge Gombloh only from these hits. Dig deeper and you will find buried treasure in his early stuff from Indra Records, and there are many of them.

His album with the band Lemon Tree’s Anno ‘69 (yes, that’s the name of the band) is all remarkable, but what he did for Chandra Records was no less spectacular. How can you go wrong with songs like “Kebyar-Kebyar”, the unofficial national anthem for Indonesia, dan “Berita Cuaca” one of the better epic songs in a catalogue full of epochal songs? These were all long out of print and in our journey to source the original master for these albums we met Bob Djumara of Nirwana Records, the Surabaya, East Java-based label which broke Gombloh into the mainstream in the mid-1980s. Almost all albums Gombloh recorded for his early labels, Indra Records and Chandra Records were critically acclaimed, but commercially they bombed, big time. Nirwana Records came up with an ingenious plan. What if they recorded Gombloh performing live and release it as is. After all, the first song in Gombloh debut record Nadia & Atmospheer is him strumming on his guitar backed by the cheering of a crowd, who could be heard going wild when he hurled that epithet “bastard” at the end of the song

The end result is a brilliant recording which despite being recorded live the sound quality so pristine leading many to doubt the claim of being live. Regardless, Nirwana shipped a decent number of units and Gombloh could buy his first car, a Katana Jeep, with money from the royalty.

One of the best things about Live Gila is its perfect sequencing, beginning with Gombloh’s social commentary on the rich’s debauched lifestyle of preying on young boys and girls, one of the most popular subjects allowed by the censoring machine of the New Order authoritarian government. The second song “Untuk Persada” is a soaring ode to the nation. For this song, Gombloh could be heard drawing his inspiration from The Police, which was undoubtedly popular in the early 1980s, even in a faraway port city like Surabaya.

Listening to this record as a whole (we omitted the last song from the original master tape “Bagimu Negeri” which sounds too jingoistic), we could not help but point to some of similarities it has with Bob Dylan’s Blood on the Tracks. Not a single composition in this record sound indigenous (the Malay-influenced rock of Panbers or Koes Plus come to mind); they all sound modern and effortlessly catchy, and had it not been for the language, this album could be mistaken for a musical output from someone growing up in Laurel Canyon or Southern France.

There are only limited copies of vinyl records in the second-hand market today available for Gombloh music, if at all. For his ardent fans, they have to scavenge for old cassettes to continue to be able to enjoy his music and have to pay top dollar for that. In Indonesia, where he was a superstar in the early 1980s, Gombloh was largely forgotten. With this project, we can only hope that the time is ripe for Gombloh to reemerge and now, more than ever, his music could speak to a bigger audience.

"Jazz Contrasts", einer der herausragenden Titel in Kenny Dorhams ohnehin schon unglaublichem Katalog, wird von Kevin Gray direkt von den Originalbändern gemastert und in einer Deluxe-Verpackung untergebracht, was diese Ausgabe zur ultimativen Edition macht. Kenny Dorham ist einer der größten Jazz-Trompeter aller Zeiten. Zu Beginn spielte er in den Big Bands von Lionel Hampton, Billy Eckstine, Dizzy Gillespie und Mercer Ellington sowie im Quintett von Charlie Parker. Dorham spielte nicht nur als Sideman in einigen der besten Bands der damaligen Zeit, sondern leitete auch seine eigenen Gruppen. Jazz Contrasts wurde zwischen dem 21. und 27. Mai 1957 im Reeves Sound Studio in New York aufgenommen. Auf der Aufnahme ist Kenny in glänzender Form neben dem ebenso großartigen Sonny Rollins am Tenorsaxophon, Hank Jones am Klavier, Oscar Pettiford am Bass, Max Roach am Schlagzeug und der meisterhaften Jazz-Harfenistin Betty Glamann zu hören.

Tom Gaebel hat die Veröffentlichung eines neuen Weihnachtsalbums angekündigt. " A Christmas To Remember" heißt es, erscheint am 17. November über Warner Music und hält eine Mischung aus eigenen Songs und weihnachtlichen Klassikern bereit, denen Gaebel seine ganz besondere Note verleiht. Wie gut er das kann, beweisen seit Jahren seine Weihnachtskonzerte, die ihn und sein Orchester durchs ganze Land führen. Acht Jahre nach seinem zweiten und bisher letzten Weihnachtsalbum erfüllt er sich und seinen Fans den Wunsch nach einer neuen Xmas-Sammlung. Es ist ein Herzensprojekt des gefeierten Sängers, Bandleaders, Entertainers.

Das Album wird insgesamt 13 Tracks und 4 Bonustracks enthalten und als Vinyl, Deluxe-CD & exklusives Bundle sowie digital erscheinen. Als Gäste wirken The BossHoss, Helmut Lotti, Sabrina Weckerlin sowie der erfolgreiche kanadische Crooner Matt Dusk mit.

Unter den Songs des Albums finden sich reihenweise moderne Klassiker, von Gaebel handverlesen und mit seiner unnachahmlichen Mischung aus knackigen Big-Band-Sounds und spielerischem Easy Listening neu interpretiert. Darüber hinaus finden sich auch drei
Eigenkompositionen auf dem Album.

Tom Gaebel sagt: "Bei aller Leichtigkeit ist mir eines immer wichtig: Ich nehme die Musik sehr ernst - bei mir hört man nur echte Streicher, echte Bläser, echten Chor.

Alles hand- und mundgespielt, wie es früher selbstverständlich war und heute leider die absolute Ausnahme ist."

With 2 solo albums («Digital Pixel » in 2016 and « Bass Attack » in 2018 ), a dozen of EPs and more than 800 shows performed all over the globe, the most international French beatmaker in the world of Reggae is back on November 2023 with his brand new album « Step Up », in which he pushes further the fusion between Reggae and Bass Music. With « Step Up » Manudigital made his music evolves toward more electronic and hybrid productions. He navigates between musical genres like no one does, inviting guests from all over the world. Armed with his bass, MPC and synthesiser, Manudigital surrounded himself with no less than 17 hand-picked artists to make his productions their own. « (…) I was already working on my upcoming album and I thought I would keep this small Reggae loop to take it to another style, fully electronic which has given my new album’s DNA » - Manudigital about the track « Step Up » The album opens with the eponymous explosive track « Step Up » featuring veteran Jamaican deejay Joseph Cotton and British Drum & Bass MC Bellyman, author of the successful YouTube video series « Carz Barz ». Among the artists of the British underground musical scene, Reggae/Soul genius Liam Bailey has been invited on the Pop-infused Digital Reggae track « Enough » which will delight the lovers of soulful Reggae. Manudigital also reminds us Reggae has always be his first love and, after having produced Alborosie and Protoje’s hit « Strolling » a few years ago, he proposed the Sicilian MC to collaborate with Jamaican artist Yami Bolo on the track « Reggae Music and Love ». A big tune built upon a classic digital riddim in the Jamaican way, a catchy chorus carried by the high voice of Yami Bolo and the legendary flow of Alborosie of the verses. Cult band Asian Dub Foundation’s singer Ghetto Priest takes also part of the project with « Rasta Corner », MC Caporal Negus joins Manudigital on « Dub and Bass » and on tour, and Jolly Joseph sings on « The world is Hell » for the Reggae Dub tracks of the album. In terms of surprises, Manudigital takes pleasure in inviting benchmark artists in each musical genres, walking through Lo Fi Hip-Hop’s path with the Dancehall President aka Skarra Mucci on « Fi Di Youths », Baile Funk with Punjabi-American rapper Alo Wala and their song « Love on Tap » or even Afrobeat with Dynamq for the last song « Piki Piki ». Finally, whereas Manudigital will soon celebrate his career 10th anniversary and as his name resonates in sound systems from all over the world, we appreciate each risk taken and each nod to Reggae Culture, wondering what his next shape will be. First parts of response on November 17, 2023 with the release of

Public Possession turns 10. What holds it all together?
Comedy & Rhythm. Find us in between the sun and the moon. Onward, forward, don’t step backward.
The source is everywhere.
• Where (Who) Am I? An angel with an UFO.
• Toot, Toot, Beep, Beep....
• Maintain a child’s mind
• Listen, talk, see
• Archeaology (dig it)
• WOW (curiosity)
• Easy & Diffifficult
• Mix It Up
• Soft Education
• Love Unlimited
We are not doing this alone.
The biggest thank you goes to the P.P. Team & all label artists.
To many more years!!

Get On Down is proud to announce a vinyl reissue of one of the West Coast's most revered, yet underrated, hip-hop classics and quite possibly one of the best hip-hop albums of all time: The D.O.C.'s No One Can Do It Better. Produced entirely by Dr. Dre and out of print on vinyl in the U.S. for several years, this limited edition colored LP features original album artwork and thirteen tracks of rap heaven. When his debut album hit in mid-1989, The D.O.C. was in the vortex of the biggest hip-hop happening on the planet: the rise and rule of N.W.A. The group’s breakout album Straight Outta Compton had hit one year prior and had created both controversy and worldwide critical acclaim. As rap history buffs and industry insiders know, The D.O.C. was a crucial behind-the-scenes member of the N.W.A. inner circle - his most important role in the early days of the group was writing many of Eazy-E's rhymes, including his hit 1988 single “We Want Eazy.” He would go on to write for Efli4zaggin, The Chronic and Doggystyle. But The D.O.C. wasn’t in N.W.A. and never wanted to be - he was his own man, with his own vision. And after Compton proceeded to blow up the next crew album was No One Can Do It Better. Significantly, it was the first album where Dr. Dre showed his greatness as a solo producer for one MC. Boasting four singles - “The D.O.C. & The Doctor,” “Mind Blowin’,” the smash “It's Funky Enough” and “The Formula” - the album is flawless from beginning to end. Of particular note beyond the singles is “The Grand Finale,” which was the last time that Ice Cube, M.C. Ren and Eazy-E would rhyme on a track together. The D.O.C. showed on this amazing record that he was one of hip-hops most talented MCs. He nearly died in a horrific car crash as the album was catching fire in the late summer of 1989 which damaged his vocal cords, but he survived and continues to make new music and act as a sounding board for Dr. Dre to this day. More recently a documentary covering D.O.C.'s life titled The DOC debuted at the Tribeca Film Festival with fans eagerly awaiting a wider release. This album is a must have for any Hip-Hop fan

Taisha Records Sales Pack including:
* Avilynn - Anaesthesia TAI001
* Avilynn - Five Million Sunsets [TAI002]
* Avilynn - 6 [TAI003]

180g virgin vinyl pressing, limited edition - the complete album
''Ella and Louis' is some of the most fascinating and commercially successful
jazz music ever produced. This was the first of the three LPs Ella Fitzgerald and
Louis Armstrong made for jazz producer Norman Granz between 1956 and 1957
(the other two were the sequel Ella & Louis Again and a selection of tunes from
George Gershwin's folk opera Porgy & Bess).
While the latter utilised a big orchestra conducted by Russell Garcia, the first two
albums were made in a small group format. And what an incredible small group!
The Oscar Peterson Trio, featuring Herb Ellis, Ray Brown (who had been Ella's
husband) and Buddy Rich (on the second album the drum chair was covered by
Louie Bellson).

Orange vinyl. Time is supposed to mellow us, but for Petrol Girls it has distilled their feminist politics into an ever more potent cocktail. Fitting, given that their logo from day one has been a flaming molotov. Since their formation in 2012, the band has been known for playing fast-paced, chaotic punk that takes aim at everything from sexual violence to immigration policy, but over the last few years their sound has evolved in a more nuanced direction. Their 2016 debut album Talk of Violence was a blast of pure political rage, while 2019's Cut & Stitch saw vocalist Ren Aldridge exploring familiar themes from a more personal perspective. Now their latest offering, Baby - to be released through the London-based independent label Hassle on June 24th - sees the band turn another new corner. This time, by embracing irreverence. "We wanted this album to be less epic and less preachy from day one," Aldridge says. "I hate sanctimoniousness. Like, really fucking hate it. But I also know that I have been mega preachy, and felt very pressured to be sanctimonious, because we've always played in a very political punk scene. I lost my fun side, and I really needed to come back to that." Recorded with Pete Miles at Middle Farm Studios in Devon, Baby embraces a more playful sound. A focus on groove and repetition - driven by guitarist Joe York, drummer Zock and bassist Robin Gatt - give the songs a Talking Heads feel, while retaining the band's formative post-punk energy. The lyrics, too, are a departure for Aldridge. While she continues to address heavy topics like burn out, femicide and police violence, the lyrics balance directed anger with tongue-in-cheek humour where appropriate. Angular opener "Preachers" puts the self-aggrandising nature of call-out culture on blast with lyrics like "feeling dead important in the comments", while lead single "Baby, I Had An Abortion" is intentionally puerile from title to finish. On the flip side, tracks like "Violent By Design" see the band kicking back against carceral feminism in the wake of a news cycle dominated by Black Lives Matter protests and PC Wayne Cousins' brutal murder of Sarah Everard. Similarly, "Fight For Our Lives" - a harsh, borderline industrial song - was lyrically co-written by activist and vocalist Janey Starling. Aldridge deliberately wrote the verses to sound like a manifesto, and the lyrics reference Starling's Dignity For Dead Women Campaign with Level Up, which successfully called for the UK media to change the way it reports on fatal incidents of domestic violence. Baby saw Petrol Girls working in new ways - scrapping entire songs rather than trying to force things that didn't feel right, recording to tape for the first time, and deliberately leaving in imperfections. It was a more carefree process, which Aldridge - having gone through a particularly bad period of mental ill-health at the start of 2021 - welcomed. "Our whole thing for a long time, and a big focus of the last record, was making political struggle sustainable," Aldridge says. "And I think having a good time where possible, and things being not totally serious all the time, is really essential."

Glasgow’s iconic and highly influential progressive house label Limbo Records celebrates it’s 30th anniversary. An incredible compilation across two 12”s in an expertly designed gatefold sleeve with a poster insert that takes a look back at some of the biggest tracks that graced the label over the past three decades.

A true collector’s item, showcasing the power and presence of this Scottish stalwart, lovingly remastered by Davie Forbes and reissued for a whole new generation of listeners. The compilation kicks off with Havana - Schtoom, the record that started it all given the remix from legendary Scottish duo Slam, before the party anthem ‘Buruchacca’ from Mukkaa aka Kiltie and Crichton gets a signature remix Apollo 440.

Elsewhere Gypsy hit with undeniably one of the highlight tracks in the Limbo catalogue ‘I Trance You’ and Sublime serve up another of Limbo’s classic releases, the dance floor banger ‘Transamerican’ which topped all the charts at the time.

Take to side 3 and you’ll find the second release on Limbo a percussive drum laden epic from Havana entitled ‘Shift’ that planted Limbo firmly in the must buy section of record shops across the UK. Another highlight on side 4 sees legendary Glasgow DJ Harri of Sub Club fame with his debut on Limbo – a superb slice of hard to house.

All in all, this is a serious slice of history that every collection should have nestled in its racks.

Back in the 1990s video games were still largely seen as nerdy: fun, sure, but basically a guilty pleasure that you’d soon grow out of. The release in 1995 of wipE'out'', a lightning-fast, razor-sharp, futuristic racing game that helped to launch the PlayStation in Europe and North America, changed all that. This was a game that looked and sounded both adult and cool, the kind of game you would put on display in your living room, rather than hide away under your bed. Key to this was the fact that wipE'out'' borrowed unashamedly from the clubbing experience and electronic music, in a way that put it at the heart of progressive mid 90s culture. It soon became a phenomenon.

wipE'out'' looked sensational, with Sheffield agency The Designers Republic - known for their work with Warp - creating the visuals, packaging and manual for the game, drawing heavily on the bright colours and excitable geometric shapes of the rave and club flyers of the early 90s.

wipE'out'' also sounded like a new rave dream. The European version of the game included music from The Chemical Brothers, Leftfield and Orbital, the kind of fashionable game syncs that were almost unheard of at the time. Equally striking was the game’s original music, which came from Welsh musician Tim Wright, aka CoLD SToRAGE, by this point already a veteran in the video games world, having worked on the music for Amiga titles such as Lemmings and Shadow of the Beast 2. His music for wipE'out'' was, if anything, even more extreme than the big-name syncs, mixing the accelerated beats of drum & bass with the pure synth rush of trance to make music that sounded as breathlessly exciting as playing the game felt.

These tracks were burned into the brains of millions of gamers; the soundtrack to a generation of late-night anti-gravity racing, as the sun gingerly rose beyond the curtains. But they haven’t, perhaps, quite got the respect they deserve, something that this release will address. In 2023, video game music is finally getting its dues; here, remastered and repackaged –and also remixed by cutting edge producers such as Kode9, μ-Ziq, Brainwaltzera, Simo Cell, Wordcolour, James Shinra, Surgeons Girl and Dattassette– are some of the most important, thrilling, innovative and most fun songs ever committed to game release.

At long last Josh’s collaboration with longtime friend Bontan sees a vinyl release. ‘Call You Back’ has become a modern classic and has been on rotation by some of the world's biggest DJs from Martinez Brothers to Four Tet since its release in 2017.

Uluru is back with another dancefloor filler.

This time we welcome our friends Dedy Dread & Mr Bird to the family. “Theme from Marzipan” arrive right on time to bring some flavors into your last sunset beach party.

Flip it and get deeply shaked by another Restless Leg Syndrome production. The Austrian trio bring into the game a classic middle eastern groove, already 10 years old but for the first time on vinyl.

Pull up guaranteed!

Pressed on high quality black and green vinyl (48 gr.)
Edition of 500, cut it loud and fat, highly recommended for big sound systems.

The soundtrack features orchestral, big band, rock, and hip-hop compositions, the score was recorded at Abbey Road and Air Studios and evokes both the intensity and the sardonic humor found within the main themes of the film. Speaking of the music, Nicholas Britell says, “When I first began working with Adam McKay on the score for VICE, Adam’s initial instinct was that the score should have a symphonic scope to match the size of the story we were telling. Over the course of more than one year of composing, I wrote a score which utilizes a full symphony orchestra, while also exploring the sounds of big band jazz, rock, and hip-hop. There is a subtle – and at times not-so-subtle – dissonance in the music which weaves in and out of the themes, harmonies, and textures. This idea of dissonance became a central element within the nature of the score.”

A tech company's "senior spirit guide" finally comes to the defense of the "financially unsuccessful" Vincent van Gogh; wonders of the natural world are reimagined as "muster points for brainstorming innovators"; the "artificial char lines" on fast-food burgers are cited as if signs of the apocalypse. For the better part of three decades, Aesop Rock has used the syntax of the moment to pinpoint the fault lines in that moment's supposedly solid foundation. With his tenth album, Integrated Tech Solutions, Aes wields insidious corporatespeak as a tool to pry that parasitic worldview away from the parts of life that truly matter. A concept album about an organization offering "lifestyle- and industry-specific applications designed to curate a desired multi-experience," Integrated Tech Solutions picks apart the charlatan language that hears app inventors put themselves on continuums starting with cavemen and continuing through da Vinci. On "Mindful Solutionism," the wheel evolves seamlessly into modern agriculture - and then into atomic bombs, Agent Orange, cigarettes, and surveillance cameras. In a rare moment of transparency, the engineers Aes give voice to sum up this spiral in just a few words: "We cannot be trusted with the stuff that we come up with." Appropriately, the album sounds like the past and future at once. Largely self-produced, Integrated Tech Solutions catches Aes at his leanest and most innovative, leveraging "SolutionismÖs careening bounce against the wistful "By the River" or the slow creep of "Salt and Pepper Squid." The effect is a record that sounds itself like an organism growing, mutating, hurtling toward profitability - and then destruction. As fans have come to expect, Aes is cuttingly funny and slyly profound at once, whether recounting a childhood restaurant run-in with Mr. T ("100 Feet Tall") or quipping, on "Pigeonometry," that "white dove is a pigeon - you motherfuckers is bigots." At the same time, Integrated Tech Solutions is working on another parallel project: tracing the sprawl of modernity and cutting directly to its core. "I've been doing laps of the lost worlds," he raps on "All City Nerve Map," sounding at once wearied and reinvigorated. "I can draw a map to the raw nerve."

First music in 10 years from cult favourites Dark Dark Dark.
B Side is a solo cut from the bands lead vocalist Nona Maie Invie.
10” EP limited to 500 in UK/EU.

Fans of contemporaries Weyes Blood (of which DDD multi-instrumentalist Walt McClements is now a full-time member) and Angel Olsen (in whose live and studio band Invie is now a staple) will find much to love in these songs, as well as the b-side, Invie’s solo piece, “For Now” which, not unlike Invie’s 2017 solo release under the moniker IN / VIA, makes use of seamlessly interwoven piano and swelling, liquid synthesizer.

Invie sounds a bit like an alternate dimension Sharon Van Etten here and elsewhere. The three song set has the understated intensity of Nick Cave’s The Boatman’s Call and the promise of emotional liftoff that characterizes Kate Bush’s The Sensual World. 

Dark Dark Dark’s rich history is punctuated by house shows and train hopping; touring as support for The National in Portugal;
playing both the National and TV on the Radio’s ATP Festivals, and years of indefatigable coast-to-coast U.S. touring. It’s a
history rich with recordings, including a pair of celebrated full-lengths produced by Tom Herbers (Low, The Cactus Blossoms),
three EPs, and a feature film score. Now, ten years later, –– surprise –– a new 10” single.

In 2013, when Dark Dark Dark released the What I Needed EP, anyone might have guessed it was a bridge between the previous year’s lauded LP Who Needs Who and the next big venture. The band had closed out 2012 as part of Australia's touring Harvest Festival, during which they stepped up to fill an unexpectedly vacant slot much later in the day, enchanting thousands of unsuspecting festival goers. Alas, after that, the band went silent.

The release of these new songs is certainly delightful and perhaps startling, as is the promise of more solo work from singer Nona Marie Invie. On the gorgeous and stately “Didn’t I Try,” Invie’s voice is elegant as ever, couched in the familiar sounds of Marshall LaCount’s distorted banjo and Mark Trecka’s rolling drums. The loping and haunted “Something Was There” follows –– a staple of Dark Dark Dark’s live sets in the last year of their touring.

Considering this band's history, their distinctive and dramatic sense of identity, this music is really and truly for fans of Dark Dark Dark.

and Sebastian Kokus and the prolific Ulf Schütte, the Hamburg-based trio has tirelessly expanded upon its sound and extended its musical style. After 2022’s »S/T« documented the results of their first jam sessions as a newly-founded group, »V.A.« started even more modestly and became an even bigger undertaking. Originally conceived as a small one-off release, it grew into a full record which sees the group embracing dub music, collaborating with Peaking Lights’ Aaron Coyes and inviting other artists—No UFO’s, Seekers International, Coco Em—who reworked select tracks in true dub style. »V.A.« is marked by inconsistency, openness, and heterogeneity in the best sense of those words: ever-changing, constantly surprising and consistently in motion.

The starting point for »V.A.« was a Hamburg concert in December 2022 together with Coyes, who played a solo set as Peaking Lights. On the request of the event organiser, Cloud Management teamed up with him for a jam session after the gig, laying the foundation for a track that the group took to the studio before sending it to Coyes to record vocals for it. Another song quickly followed and even though the band initially intended to release »PST« and »0rten Pitch« as standalone 7” single, they soon decided to have others create versions of the two tunes to round them off in the form of a 12” EP. Once more though, one thing led to another and now »V.A.« collects five original pieces by Cloud Management as well as three—four on the digital version—remixes by other artists.

Collaborating with Leipzig-based Canadian producer No UFO’s, the Canadian Seekers International collective, and Kenyan multi-disciplinary artist Coco Em came about organically. As fans of their friend Konrad Jandavs’ work for labels such as Spectrum Spools, Root Strata and his own Nice Up International, Korf, Kokus and Schütte asked him for a remix and granted him full creative freedom for his take on »PST«. Jandavs also connected them with the prolific Richmond-based soundsystem worshippers, who present their take on the same track on this record as well as a version of »Electric CD.« Also this track appears three times on the record, having been re-rubbed by Emma Mbeki Nzioka, who was introduced to the the trio by its label Altin Village & Mine.

There isn’t really a common thread running through the rough digi-dub of No UFO’s take on »PST«, Seekers International’s traditionally-minded yet infinitely playful dub-psychedelia and Coco Em’s bass-heavy, percussive, pulsating take on »Electric CD.« However, as a group dedicated to staying in flux at all times, Cloud Management ended up embracing the creative differences between their own work and those of their respective collaborators. In calling it »V.A.,« they paid tribute to their somewhat loose, but conceptually consistent concept of giving various artists full creative licence over their own work. Neither a true album in the strict sense of the world nor just a compilation, »V.A.« is actually the essential Cloud Management record: ever-changing, constantly surprising, consistently in motion.

The funky, atmospheric, evocative and sometimes downright weird output of companies such as DeWolfe, Cavendish, Burton and the ubiquitous KPM have always been a guiding inspiration for ATA Records, as evidenced in the spooky soundtrack vision of The Sorcerers, the big band brass of The Yorkshire Film & Television Orchestra and even in the soul-jazz of The Lewis Express & Outer Worlds Jazz Ensemble. It only seemed natural for the team at ATA Records to scratch their own Library itch and so "The Library Archive Vol. 1" was born in 2019. Recorded over a series of sessions in the Aladdin's Cave of vintage recording equipment that is ATA studios, it featured many of the ATA stable of performers. Released in 2021, "The Library Archive Vol. 2" still had the golden age of European Library music squarely in it's sights, but this time the focus was drawn more to the off-kilter soul organ sound of Italian quartet I Marc 4. These two volumes garnered praise from Library aficionado Shawn Lee ("Holy...

Having (barely) survived the inaugural vinyl detonation of Powerman 5000’s Tonight the Stars Revolt!,
we’re back with its predecessor, 1997’s Mega!! Kung- Fu Radio. But the blast radius on this one might
even be bigger... after all, the initial title of this record (their first studio album) was The Blood Splat
Rating System. Once that release won awards from the Boston Phoenix Reader’s Poll for Best Metal
Album, Best Rap Album, and Album of the Year, DreamWorks signed PM5K and re-issued Blood
Splat under the Mega!! Kung-Fu Radio title in remixed, remastered, and supercharged form with a
couple of new tracks, the title cut and the great “20 Miles to Texas 25 to Hell.” Just as was the case
when we released Tonight the Stars Revolt, this baby’s never been on vinyl before, and we’re
pressing it in blue with black swirl vinyl complete with a printed inner sleeve. Duck and cover.

A tech company's "senior spirit guide" finally comes to the defense of the "financially unsuccessful" Vincent van Gogh; wonders of the natural world are reimagined as "muster points for brainstorming innovators"; the "artificial char lines" on fast-food burgers are cited as if signs of the apocalypse. For the better part of three decades, Aesop Rock has used the syntax of the moment to pinpoint the fault lines in that moment's supposedly solid foundation. With his tenth album, Integrated Tech Solutions, Aes wields insidious corporatespeak as a tool to pry that parasitic worldview away from the parts of life that truly matter.



A concept album about an organization offering "lifestyle- and industry-specific applications designed to curate a desired multi-experience," Integrated Tech Solutions picks apart the charlatan language that hears app inventors put themselves on continuums starting with cavemen and continuing through da Vinci. On "Mindful Solutionism," the wheel evolves seamlessly into modern agriculture—and then into atomic bombs, Agent Orange, cigarettes, and surveillance cameras. In a rare moment of transparency, the engineers Aes give voice to sum up this spiral in just a few words: "We cannot be trusted with the stuff that we come up with."



Appropriately, the album sounds like the past and future at once. Largely self-produced, Integrated Tech Solutions catches Aes at his leanest and most innovative, leveraging "Solutionism"'s careening bounce against the wistful "By the River" or the slow creep of "Salt and Pepper Squid." The effect is a record that sounds itself like an organism growing, mutating, hurtling toward profitability-and then destruction. As fans have come to expect, Aes is cuttingly funny and slyly profound at once, whether recounting a childhood restaurant run-in with Mr. T ("100 Feet Tall") or quipping, on "Pigeonome- try," that "white dove is a pigeon-you motherfuckers is bigots." At the same time, Integrated Tech Solutions is working on another parallel project: tracing the sprawl of modernity and cutting directly to its core. "I've been doing laps of the lost worlds," he raps on "All City Nerve Map," sounding at once wearied and reinvigorated. "I can draw a map to the raw nerve."






[f] Kyanite Toothpick [feat. Hanni El Khatib]




[k] Bermuda [feat. Lealani Teano]


[n] Forward Compatibility Engine [feat. Rob Sonic]



[r] Black Snow [feat. Nikki Jean]

Take the 101 north out of Los Angeles, and you'll pass by Agoura Hills, where the core duo of the band Dub Thompson grew up. Whatever you see in that town won't readily prepare you for the music they wrote while there, but you're free to look."Most everyone who's in a group who's our age lives on the Internet," says guitarist Matt Pulos. "The kinds of things that have shaped our band aren't anchored to any one time or place."Pulos and his bandmate, drummer Evan Laffer, are currently both 19 years old, and are putting that line of thought to the test; their musical influences travel from the Midwestern malaise of Big Black and Pere Ubu, to Kraut pioneers Can and Kraftwerk, while bowing to the British belligerence of The Fall and This Heat.Recording the album while living with Foxygen's Jonathan Rado at his rented house in Bloomington, the band had its first taste of a heavy Indiana summer, and all the humidity and insect life that buzzes along with it. "We woke up every day, ate hard-boiled eggs and stood on a porch," says Pulos of the experience.Their first collection of songs slyly unties the shoes of genre and convention, shapeshifts mischievously, and tramples on the promises delivered on the name itself.There are only eight songs on this rangy debut.Intense blasts of hook-filled noise rock ("Hayward!"), rocksteady marionette stomp ("No Time"), hypnotic bouts of doomy poetics ("Epicondyles"), outlandishly sexy groove rock ("Dograces"), and a number of other bite-sized forays into parts unknown are made manifest across 9 Songs. The vibes are strong here. Pulos sings and plays like he's working out long-standing grudges, pulling the most sinewy tones from an acoustic guitar and ripping huge chunks of demon flesh out of his electric. Laffer matches him step for step on the drums, an exacting presence behind the kit who pushes even the band's more placid moments into bouts of tension. Together they succeed in animating their musical ideas to startling, almost unnatural life. Reverb units, keyboards, samples and processing gluing everything together, saturated in the August heat and worn in until they sound second nature, it's like somehow you've been listening to these songs forever.

Blue Cloud Vinyl. Hailing from Bozeman, MT, Kitchen Dwellers embody the spirit and soul of their home with a sonic palette as expansive as Montana's vistas. The quartet_Shawn Swain Mandolin, Torrin Daniels banjo, Joe Funk [upright bass], and Max Davies [acoustic guitar]_twist bluegrass, folk, and rock through a kaleidoscope of homegrown stories, rich mythology, American west wanderlust, and psychedelic hues. After amassing 5 million-plus streams, selling out shows, and receiving acclaim from Huffington Post, Relix, American Songwriter, and more, the group brings audiences back to Big Sky Country on their third full-length album, Wise River, working with Cory Wong of Vulfpeck as producer.In the end, Kitchen Dwellers share timeless American stories from the heart of one of its greatest treasures."When you listen to Wise River, I hope you hear some of the original qualities that made us who we are, but you also recognize aspects that are new and adventurous," Max leaves off. "I hope you hear what it sounds like when the four of us are at home and have the space to create something together. This album is really how we sound as a band."

Jamie Lenman made his name as the singer, guitarist and songwriter in alt rock outfit Reuben, who toured and released relentlessly during the 2000s as part of the so-called “British post-hardcore renaissance” along with bands like Hundred Reasons, Biffy Clyro and Frank Turner’s Million Dead.
After the band’s dissolution in 2008, Lenman took a long break from music only to return in 2013 with the colossal double album ‘Muscle Memory’, combining elements of jazz, folk and thrash. Over the next ten years he continued to tour with various backing bands and released a string of records via indie label Big Scary Monsters, including the acclaimed ‘Devolver’ in 2017 and career highlight ‘The Atheist’ in 2022.
He continues to balance his musical efforts with his work as a journalist and illustrator for publications such as The Guardian, Rocksound and Doctor Who Magazine. He lives in Surrey, UK.

We at BDQ are delighted to release Brian Auger, Julie Driscoll & The Trinity's long lost, swinging Hammond Organ version of the jazz dance classic ‘Jeannine’. Released for the very first time on a 45, ‘Jeannine’ had lain forgotten about for 55 years, and was only discovered whilst Brian and his son were looking for previously unreleased material to include on the recent ‘Auger Incorporated' compilation (Soul Bank Music) Julie Driscoll’s unmistakable voice paired with Auger’s fiery playing makes for a fresh take on this evergreen classic.



On the B side, for the first time on a UK release we have the hip swinging, big band 'mod jazz' dancer 'In & Out'. Taken from The Trinity's 1967 album 'Open' and is built around guitarist Gary Boyles' Wes Montgomery inspired playing. 'In & Out' was only released on a 45 in the US by ATCO Records, making this it's only ever single release outside of the United States - this special BDQ 45 single is a strictly limited edition release and will not be repressed.



Brian himself has been very supportive, making it very clear that this 45 was a priority project for him, and we are very lucky to collaborate on our second project with this legendary artist. Many will be aware that Brian and BDQ first collaborated on the single ‘Truth In My Tears’ which featured his trademark Hammond Organ sound alongside the sultry voice of Lydia Sharpe to great effect. We extend our gratitude to Brian and Karma Auger, Brians' manager Greg Boraman, and all at Soul Bank Music/K7 Music.

The sound that swallows jazz rock, mode jazz, and free jazz is serious and profound.

A magnificent concept album that will remain in the history of Japanese jazz with the theme of global anti-war and peace

Hiromasa Suzuki, a rare pianist/composer/arranger who showed his skills in the groups of Terumasa Hino and Akira Ishikawa. Collaborating with Big Soul Media, led by Jiro Inagaki, one of the best jazz rock groups of our time, this work is unusual for a Japanese jazz work, and the concept is based on the theme of “global anti-war and peace.”

The sound that swallows jazz rock, mode jazz, and free jazz is serious and solid, but at the same time, it is full of overwhelming dynamism.

Suzuki’s ability to manage a big band and create a masterpiece sound is also splendid, and Big Soul Media, which listened to Suzuki’s intentions and responded to his request, is also splendid.

Both Suzuki and Inagaki’s activities in the jazz-rock era are at their peak, and this work is also important in that it captures the overlap.

text by Yusuke Ogawa (universounds/Deep Jazz Reality)

Composition/Arrangement/Conductor: Hiromasa Suzuki
Performed by Jiro Inagaki and Big Soul Media
Jiro Inagaki (S.Sax, T.Sax)
Shigeo Suzuki (A.Sax)
Tadayuki Harada (B.Sax)
Takehisa Suzuki (Trumpet)
Tetsuo Fushimi (Trumpet)
Takeshi Nomura (Trumpet)
Shigemichi Domoto (Trombone)
Tadataka Nakazawa (Trombone)
Kazuo Usui (Trombone)
Tsunehide Matsuki (Guitar)
Masaru Imada (Piano, Organ)
Hiromasa Suzuki (Piano, Organ)
Yasuo Arakawa (Bass) / Gen Ishimatsu (Drums)

Traversing the everyday in 2023, the need for ritual catharsis only grows stronger. The need to lose oneself in a force bigger than ourselves, and to venture into inner space the better to sculpt armour for the battles outside. Luckily this is the job of Bonnacons of Doom, aural soothsayers and progenitors of Trans Pennine hypnotic music. ‘Signs’ - their second album for Rocket Recordings - marks both a portent of things to come, and a roadmap of the psychic pathways to survival. This masked troupe, subsumed to mystery and amassed from across the North of England, have stepped up their mission accordingly. Building on the intimidating intensity of their self-titled 2018 debut, this series of fiercely charged mantras and premonitory transmissions is possessed of a new level of communal intensity. The band’s choice of weapons- the monomaniacal intensity of the riff, the liberating binary spirit of electronics and the incantatory vocals of ceremonial leader Kate Smith - here coalesce into a metaphysical force which stands defiant of easy categorisation. Within these otherworldly manifestations lurks solace in a place where the transcendent power of heavy amplification, cosmically aligned sonic explorations and strange forces darker and more unknowable can coalesce to cathartic and redeeming effect. ‘Signs’ marks out a supernatural landscape where ancient and modern, earthly and alien congregate in the eternal now, whilst Bonnacons Of Doom transcend era to light a path for the future

Multidisciplinary artist GAIKA returns with a new track titled “LADY” featuring bbymutha from his forthcoming album, Drift out on September 8th.

Thrashing drums and droned out guitars take immediate effect on “LADY” but it’s the two mavericks' electrifying chemistry that is the driving force of this track. Enlisting KIDÄ (Yves Tumor) on production with additional contributions from Azekel (Gorillaz) and Max Winter, alternative rock and audacious rap come crashing together as GAIKA and bbymutha flex their lyrical prowess, unapologetically expressing their devotion to their lovers on this twisted, feverish affair.

Newly signed to Big Dada Recordings, home to Roots Manuva, Yaya Bey, Kae Tempest, Brian Nasty and more, GAIKA jumps back into music with new invigoration after delving into work as a composer to unveil Drift - his most expansive work to date. The visionary invites listeners on a high-speed journey where love, pain, brutality and beauty collide to produce a vivid and provocative cinematic masterpiece. The sonic universe of Drift is the most stylistically accurate representation of GAIKA’s personal tastes to date, stitching musical influences past and present such as Prince, Wu Tang Clan, Massive Attack, John Coltrane, Pink Siifu and A$AP Rocky to land on a gritty, distorted sound pulsating with an unwavering, formidable energy that’s disruptive yet timeless.

Drift is 14 tracks of nostalgic escapism, a shape-shifting body of work with hip hop and club music cultures at its core, as those simply run through the veins of GAIKA. Analogue and retro in feeling, Drift’s psychedelic feel is formed by incorporating 90s grunge, dark wave, post-punk and alt-rock into its tapestry. It’s a representation of his heritage and environment, featuring calypso steel pans to gospel vocals, reverberating dub to frenetic rap and elements of sound design taken from recordings of the real world. GAIKA’s music transcends borders and his nomadic nature means he simultaneously belongs and doesn’t, his music cannot be confined to just one genre and this unique new record further cements him as one of the most progressive artists of our time, telling the tale of modern day renaissance man driving away from the economic hierarchy he doesn't believe in.

GAIKA endeavoured to create a waking dream by constant participation in communal art making, removing the separation between art and life, his imagination and community and breaking the boundary between real life and any spectacular representation of it. He set up a number of situational arts facilities in the heart of London including shows at ICA, 180 the Strand, Now Gallery and as the world reopened, created pop up galleries, studios, exhibitions and raves with the intention to enhance the experience of real life by dreaming. To achieve this coherently and authentically the process became akin to a form of psychological examination of memories made before music “mattered” to GAIKA - before becoming commodified, individualised and his name capitalised.

Drift became the term used to describe the creative happenings in these spaces and the name for the collective of people who made this record. GAIKA is the central writer and composer working closely with KIDÄ on production and a group of classically trained musicians with contributions from Azekel, Charlie Stacey, Brbko and The Narrator over an extended period of time where they recorded music late into the night, night after night.

You don't know yet but you're about to discover one of Europe's unearthed diamonds: this is the shape of the industrial to come, where punk, noise, ebm and rave meet.

Minimalistic but full of detail and big dynamics with songs that take you on a journey, there's not a single second wasted on his first 12"". From energy blasts like ""De Internet se sale"" or ""Disforia"" to the dystopic and dissonant synth pop gem of ""Parking Tanatorio"", through the EBM punk of ""Foto de un Caballo"" or ""Captcha"" which was debuted at Tresor at peak time and made everyone instantly scream their lungs out!

BTW If he's coming to play in your town don't miss it, it's one of the best live shows we have seen the last few years.

Balmat co-founders Philip Sherburne and Albert Salinas have been fans of Shy Layers’ lilting, Balearic pop for years, so when Shy Layers’ JD Walsh asked us to listen to a set of demos he was working up with fellow Atlanta multi-instrumentalist Jeff Crompton, we jumped at the chance. And once we heard their work in progress, the decision was almost immediate: We have to release this.

Together, Walsh and Crompton are Anagrams, and their debut album together, Blue Voices, might initially seem like a departure from Balmat’s habitually electronic terrain. It’s not ambient music, but it’s also not not ambient music, at least to listeners in the right frame of mind. The two musicians, who met when Walsh moved from Brooklyn to Atlanta in 2016 and began collaborating a few years later, see the music in similarly ambiguous terms. “I like it because it’s not jazz,” jokes Crompton, a veteran and credentialed jazz player. “And JD likes it because it’s jazz.”

Crompton is a musician (and former high-school band teacher) with deep roots in Georgia’s improvised and experimental music scenes; his credits include shows with Eugene Chadbourne, a guest appearance with Godspeed You! Black Emperor, and a collaboration with Duet for Theremin and Lap Steel’s 12-hour drone performance at Knoxville’s Big Ears. On Blue Voices he plays alto and tenor saxophone, clarinet, electric piano, and organ. Walsh has been releasing music as Shy Layers since 2015, when he started self-releasing on Bandcamp; the following year, Germany’s Growing Bin packaged his first two EPs as a self-titled album, and in 2018, Tim Sweeney’s Beats in Space label put out Shy Layers’ sophomore album, Midnight Marker. Where those records channeled Walsh’s playful harmonic instincts into wistful songwriting with tropical overtones, on Blue Voices he lets his experimental tendencies take the lead. Playing acoustic and electric guitars, electric lap steel, bass, Moog Matriarch, modular synth, and programmed drums, he concentrates his energies on richly textural layers and abstract assemblages of tone color.

Across the album’s 11 tracks, there are faint echoes of familiar touchstones: the atmospheric twang of Daniel Lanois’ pedal steel on Apollo: Atmospheres and Soundtracks; the mercurial modal runs of Ethio- jazz; the late-summer calm of Fuubutsushi; the versatility of players and composers like Patrick Shiroishi and Sam Gendel, who are asking similar questions about where jazz ends and some other, nameless territory begins. Mostly, though, what Blue Voices captures is the quixotic sound of two restless musical imaginations making it up as they go along, two voices discovering a shared language in a hitherto unexplored shade of blue.

Phat Kat's "Dedication To The Suckers" and "Re-Dedication To The Suckers" EPs! 3 EPs in total for the digital release. The A Side of the vinyl version includes "Dedication To The Suckers", originally released in 1999, this version includes 6 tracks all produced by J Dilla.

The tracks are from the late 90s and early 00s. "Re-Dedication To The Suckers (U.S. Version)" was originally released in 2015 and is on the B Side of this vinyl release. 7 tracks all produced by Agor and with guest features from Guilty Simpson and Elzhi on the track "All Madden". The Euro Version of "Re-Dedication To The Suckers" is digital only, also produced by Agor, just different beats!

In this accompanying remix set, "Earth 2.23: Special Lower Frequency Mix", the Bug has taken a bit of "Seven Angels" and laced it with feedback and big bass, allowing grime luminary Flowdan to climb atop it with his dark, staccato visions. Responsible for many transformational records himself, Justin K. Broadrick of Jesu and Godflesh crawls inside "Teeth" to lash at it with punishing drum machines and sordid layers of new distortion, building it into some brokedown palace of industrial mayhem. Loop's Robert Hampson makes good on the premise of ambient metal with his 30-minute hypnotic beauty, while longtime Earth cohort and longtime Built to Spill multi-instrumentalist Brett Netson seems to float the sound through a benighted graveyard on his clever "Teeth" revamp. These are not obvious directions for Earth's impact. Again, Earth 2 was never an obvious record. 30 years on, have we yet to grasp the enormity of Earth 2, an album that has continued its slow cycle of influence, uninterrupted? Probably not. Hell, most of us don't even know there are horses on the cover. VERY limited indies only LOSER copies pressed on lovely CURACAO BLUE vinyl!

LOVE + POP is a snapshot of a moment in not-so-far-away time; something fast, loud, moody and a little dangerous. It is, in some ways, classic Current Joys: full of wild ambition, sneaky hooks, and songs that move from concept to completion with prolific speed. But LOVE + POP also explodes myriad expectations with aggressive, deconstructed production, house music influence, and a guest appearance from Lil Yachty. It is not so much a twist as it is a unique multiverse identity for Current Joys, as Nick Rattigan's set out to "capture this sonic moment and harken back to the way I first released music." The story of LOVE + POP begins with one of those house parties: the kind that bulldozes your home and, in its aftermath, leaves a wreckage that finds you flattened but also ready to be new. In that mess and mayhem, Rattigan watched Everybody's Everything, the documentary of Lil Peep, and recorded a cover of "walk away as the door slams". But the itch wasn't scratched, and what began as a moment of homage morphed into something bigger, deeper and more fundamental, a point where the seemingly haphazard - in his home, in Peep's process - opened Rattigan up to an entire creative space and a new approach to bending or even detonating genre. Crucially, all of this was recorded at home, in what Rattigan calls a "tribute to the process of creating" in a DIY space. And what began as a singular passion project unexpectedly grew into a uniquely collaborative record for Current Joys. "I've set out to make collaborative records before," Rattigan explains, "but they often end up totally me, with just a couple exceptions. But then this record gave me the opportunity to be extremely collaborative, to let other people write instrumental tracks, sending links around for people to mess with and weigh in on. I sat down to do credits and realized here were all these people and styles and they all came together and worked." LOVE + POP's cover art is an airbrush/spraypaint rendition of the Wild Heart album cover, which is itself a photo of Rattigan's grandparents kissing. It is sacred in some ways and shredded in others. This idea - the aggressive reimagining of something timeless into a present, finite style - is LOVE + POP.

LOVE + POP is a snapshot of a moment in not-so-far-away time; something fast, loud, moody and a little dangerous. It is, in some ways, classic Current Joys: full of wild ambition, sneaky hooks, and songs that move from concept to completion with prolific speed. But LOVE + POP also explodes myriad expectations with aggressive, deconstructed production, house music influence, and a guest appearance from Lil Yachty. It is not so much a twist as it is a unique multiverse identity for Current Joys, as Nick Rattigan's set out to "capture this sonic moment and harken back to the way I first released music." The story of LOVE + POP begins with one of those house parties: the kind that bulldozes your home and, in its aftermath, leaves a wreckage that finds you flattened but also ready to be new. In that mess and mayhem, Rattigan watched Everybody's Everything, the documentary of Lil Peep, and recorded a cover of "walk away as the door slams". But the itch wasn't scratched, and what began as a moment of homage morphed into something bigger, deeper and more fundamental, a point where the seemingly haphazard - in his home, in Peep's process - opened Rattigan up to an entire creative space and a new approach to bending or even detonating genre. Crucially, all of this was recorded at home, in what Rattigan calls a "tribute to the process of creating" in a DIY space. And what began as a singular passion project unexpectedly grew into a uniquely collaborative record for Current Joys. "I've set out to make collaborative records before," Rattigan explains, "but they often end up totally me, with just a couple exceptions. But then this record gave me the opportunity to be extremely collaborative, to let other people write instrumental tracks, sending links around for people to mess with and weigh in on. I sat down to do credits and realized here were all these people and styles and they all came together and worked." LOVE + POP's cover art is an airbrush/spraypaint rendition of the Wild Heart album cover, which is itself a photo of Rattigan's grandparents kissing. It is sacred in some ways and shredded in others. This idea - the aggressive reimagining of something timeless into a present, finite style - is LOVE + POP.