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"Float like a butterfly and sting like a bee" said the famous boxer Mohammed Ali, in reference to his legendary strike. This punchline also works wonderfully in music, listening to Roseaux's third album. A French success story, created with all modesty and honesty by the Parisian trio: Emile Omar, Alex Finkin and Clément Petit.

The three musketeers of sound cultivate their know-how, now acclaimed by critics and an ever-growing audience since their first project in 2012. It took them time to take a step back and gain perspective in order to offer us a return that is both joyful and resounding.

Roseaux takes root on the banks of soul, folk, jazz, and songs from all eras, a cascade of inexhaustible sounds, where the three composers draw their inspiration and merge their experiences.

The leaves of Roseaux soar to the breath of wonderful voices, chosen with precision by the three friends, like that of the American singer Aloe Blacc, present since the beginning of the adventure, essential enchanter of the three episodes.

Conceived as a dreamlike escapade full of emotions, on the fringes of the massive, instantaneous and often disembodied production, Roseaux is a totally artisanal group, a sort of UFO in the French musical landscape, which operates on instinct and above all on desire.

Thus, Roseaux has become an expert in bringing together, for the duration of a record, the artists who specifically form the DNA of their host: captivating voices, a plot on the piano and cello, but also encounters and reunions, in a poetic and deliberately nebulous universe.

A welcoming nebula, where the listener is invited to listen and immerse themselves without hindrance, in a luxuriant, wild, exciting sound forest. This third album is the work of 3 music lovers, capable of switching roles: writing, arrangements, production, from which emerge this time, eleven tracks with chiseled melodies including three colorful and unusual instrumentals.

A journey between melancholy and euphoria, which led Roseaux to the ends of the planet, from the Caribbean to Europe via Africa to unearth other vibrations and unique performers: the captivating Grenadian-British singer Ala.ni, the little English afropop prince from Ghana, Ghetto Boy, and the disturbing Swedish Isabel Sörling, sign here a first flamboyant collaboration with the group.

While the talented Haitian-Canadian Mélissa Laveaux, the hypnotic Scandinavian singer Olle Nyman, the sparkling French-Canadian Anna Majidson and our remarkable national Ben, already present on the second part, still manage to create a surprise by revealing new aspects of their range.

Roseaux's voices are decidedly impenetrable and its magic is renewed today by making the strength of all these scintillating elements dialogue, to be discovered in a setting of softness and voluptuousness.

Nature is full of reeds, this one is unique.

Sagacious reggae lyricist Vaughn Benjamin’s words are particularly cutting during Sow And The Reap, the final recording of Vaughns immense catalog of works with I Grade Records. Produced by Zion I Kings, and taken from 2021’s album Polarities, Sow And The Reap folds topics of political dominance, mass migration, and injustice into a thought provokingly coherent whole. The song brims with Vaughn’s characteristic dual-meaning word-play, using evocative metaphors of nature and agriculture to illuminate global policy. Sow And The Reap’s timeless lyrical principles are matched by its inexorable reggae rhythm, featuring hefty programmed drums by Romain “Teflon Zincfence” Arnett, and sombre trombone and space age synth, both supplied by much missed multi-instrumentalist Drew Keys. Backed by its correspondingly haunting dub.

This series honours both the vocal and version culture of the reggae sound system and the profound lyricism of Vaughn Benjamin. We have consistently received two requests in relation to releasing the LPs: "Can we have dub versions?" and "Where can we read the lyrics?" Our response is the 'Akae Beka - vocal, version and word-sound collection.' Before Zero Records worked with Tippy I Grade to mix a series of dub mixes from a carefully curated selection of his extensive works with Vaughn Benjamin. The vocal and corresponding dub mixes were then cut to wax by Lewis Hopkin of Star Delta and wrapped in a collage made of Ras Marcus's artworks, which he crafted for various LP covers of Vaughn's works throughout the years with the lyrics transcribed and printed on the rear of each sleeve.

Abstract Orchestra's composer, leader, arranger and producer Rob Mitchell has now added remixing to his already notable list of credits, in this case turning his hand to Abstract's MADVILLAIN project. Rob has worked with many artists during his busy career; The Haggis Horns, Rag 'n' Bone Man, Sharon Jones and the Dap–Kings, Brand New Heavies, and Slum Village, alongside many others but it was the orchestra's work he wanted to revisit. Seeing the pandemic as an opportunity to spend more time in the studio, Rob spent several months polishing his production skills before embarking on this remix project, he wanted to make sure he did it justice. Working under the moniker Ghostlife, a nod to the fabled anonymity of rapper MF DOOM, Rob has reworked the big band orchestration of Abstract, creating a beat led affair with greater dance floor appeal.

For Abstract Orchestra MADVILLAIN REMIXES, Ghostlife cherry picked ten tracks from Abstract's two-album project and plays with a higher BPM count within the hip hop aesthetic of the original. The tracks include "Raid", "Fancy Clown", "Curls", and "Figaro" and in this case Ghostlife has forgone the big arrangements Abstract is known for, rather he has coaxed out hooks and samples from their tracks and produced something he hope will appeal to a different crowd. There is dancefloor potential in "Eye","Accordian" and bass heavy "Borrowed Time" while the reworks of 'Fancy Clown" and "Curls" would fit well into any radio show.

Pharoahe Monch is one of the most revered and influential emcees in the history of hip-hop, and 2024 marks the 10th anniversary of his fourth studio album "PTSD: Post Traumatic Stress Disorder".

In PTSD, Pharoahe Monch continues the story he began telling in his previous LP, "W.A.R. (We Are Renegades)" from 2011. The Queens emcee narrates, in both literal and metaphoric ways, about the trials and tribulations of an independent artist who is at war with the music industry and the struggle of the black male experience in America.

In 2012, during an interview with Shawn Setaro, host of the podcast The Cipher, the rapper explained the connections between the two projects, beyond their titles. “The W.A.R. album was like, I’m going to battle against the machine, I’m doing this independently. I’m putting some things out that I learned and I’m going to expose about the music industry. PTSD is the result of me doing that, where I am emotionally now. It’s similar to how someone comes back from war and is stricken by re-adjusting to a regular situation.”

Monch told MTV Hive that PTSD is “more mental, emotional and personal” because it came out of the depths of a period of depression. He also gave the internal and external factors that helped him create the album. “I was working on the title track, which took me to a point in between Internal Affairs and Desire, where I was heavily depressed. Through the waiting period, the industry period, and going through a lot emotionally. Then there was the physical problem with asthma. It was the worst. So I started off with that title track and my manager was like, ‘Yo, let’s really dive into that state and how you got to where you are now, and how this follows what people go through to get back to a so-called ‘normal’ situation’.”

The concept album follows a veteran through combat experience, his return home, relationship dissolution, drug addiction, painful depression, and, finally, a triumphant but realistically rendered decision to keep living and struggling.

Quiet Village announces new label, The Quiet Village, and new single, ‘Reunion'. Matt 'Radio Slave' Edwards and Joel Martin's critically acclaimed project's first official single under the Quiet Village name in seventeen years!

Beginning life as a 'heady 6/8-time urban jazz odyssey, 'Reunion is a stunning piece of modern, Hi-Tech Jazz that draws influences from Pat Metheny, Timeline, Innerzone Orchestra, and Clyde Stubbelfield's drumming.

While previous Quiet Village material was hewn from a myriad of samples extracted from Edwards' and Martin's notorious digging, 'Reunion' and its follow-ups are drawn from a tight-knit crew of session musicians, including the likes of Jon Hester and Thomas Gandey, adding further depth and feel to the QV sound. Already a firm favourite with Gilles Peterson and Luke Una, the latter of which leaked a clip of the release via his inimitable Instagram presence and called it 'something so fucking beautiful. Tony Allen, Sun Ra meets Carl Craig, Underground Resistance, house, tech, funk, everything rolled into one'.

'Reunion’ is the first single on The Quiet Village, Quiet Village's new imprint. Despite continually producing new music and a slew of remixes, most recently for Running Back and Isle of Jura, the long-term friends and collaborators have been unable to release under their Quiet Village moniker since their LP 'Silent Movie' in 2008. While a few releases under QV and their sometime DJ aliases of Maxxi (Edwards) and Zeus (Martin) have emerged, 'Reunion' is the beginning of a new and re-energised Quiet Village that will see more original material and remixes, DJ and live touring that began in Japan in May and curated compilations of treasures, old and new, in the coming months and years.

The time has finally come to have Kwartz in this house again and we couldnt be more satisfied with the quality of the work he has delivered. It is clear that his new residency at the best techno club on the planet, Berghain, has helped his inspiration multiply exponentially and this is definitely reflecting in this brand new work that leaves us wanting more.

Four slices of techno with all the letters, which define exactly what the genre should be without seasonal additives, dynamic electronic dance music, without an expiration date, which could be signed thirty years ago or in the distant future.

Mario does not entertain himself with extreme speeds, nor with predictable developments, nor with pre-cooked sounds. His approach to musical creation is slow and artisenal, meditating and maturing each of the ingredients he uses without fear of being left out of the media radar.

This enitre procedure is reflected un the excellent result, The Golden Hour is a perfect example of everything said above. Strong and firm rhythms, constantly evolving arrangements, elaborate sound design and a firm dance attitude.

Enter The Zone turn rhythms towards broken bass drums, slightly presses the accelerator and introduces disturbing atmospheres combined with organic percussion details in a masterful way. A true catalyst for expert mixers.

On side B, Under Control once again breaks tradition with a broken, hypnotic and continuous rhythms, a first-rate brain driller for the clubs peak moments.

The EP ends with Animal Instinct, which does not lower the intensity one bit, adding an overwhelming rhythm with dynamic percussive details, with no room for rest, perfect for the dancers to travel to unknown dimensions.

Also includes a large double sided poster , colour inner sleeves and liner notes by Gerald V Casale.

Spuds rejoice. After years of requests, Futurismo are thrilled to announce a brand new limited pressing of the DEVO’s incredible Recombo DNA 4xLP with Mini CD Set, plus also available is a brand new 3xCD version.


For decades Devo have been working non-stop at Recombo DNA Laboratories on a new kind of research to keep up with the mutating world around us. That extensive research is now ready for public consumption once again. Futurismo were the first to bring you this on vinyl and now they present unhindered access into Devo’s labs, documenting the scientific analysis and demonstrations as conducted by the band between the years 1977-2008.



This tireless research has manifested itself in Recombo DNA…an unmissable collection of studio demos and unreleased rare tracks that span Devo’s entire recording career, from their original basement days to their famed ’Freedom Of Choice’ era, right the way through to unused demos from their last studio album. You may know the track ‘Baby Doll’ but do you know it’s original incarnation as ‘Satan’? If you submit to the findings of Recombo DNA Labs you will, Futurismo’s version of this compilation includes six bonus tracks taken from the archives that had never been released, or even heard before.



This limited edition 4xLP set is a sonic fusion of demos, alternate versions and outtakes, demonstrating the true breadth and talent of one of America’s most important bands. But this set doesn’t stop at four beautiful slabs of mutated vinyl, also included is ’The Somewhere Suite’ served up on the format it was originally intended to be back in the May of ‘89, advertised although never released, it’s contained here in all it’s full length glory on a 3” Mini CD. Recombo DNA is also coming on a 3xCD digipak version for the very first time from Futurismo, including all the wonderful artwork and bonus material. Devo’s Recombo DNA is an essential addition to the collection of any science fearing spud, and the perfect sister release to last years Art Devo. The original 2017 pressing of Recombo DNA sold out in less than 48 hours, so grab this while you can. Each set includes 4xLP on limited edition coloured vinyl and includes a Mini CD. This fantastic collection of devolved recordings and bonus tracks are contained within the gloss laminated wide spined sleeve, with newly tweaked artwork, a huge A1 poster, full colour inner sleeves and liner notes by Gerald V Casale. A 3xCD digipak version is also available. Submit to these findings and witness audio mutation in action.

Ignite’s A Place Called Home 25th anniversary edition on vinyl with bonus tracks out in March 2025 Svart Records is proud to reissue the Californian melodic hardcore band Ignite’s album A Place Called Home. Previously released on vinyl only on its original release date in 2000 on TVT Records, A Place Called Home will finally be available on wax again on March 21st, 2025. Formed in Orange County in 1993, Ignite's sound is hard to pin down. Their music contains elements of punk, hardcore, alternative, and even heavy metal. Their 30-year career has produced several classic albums with A Place Called Home being their commercial breakthrough album, combining the spirit and muscle of hardcore and the catchy tunes of west coast punk rock. Sixteen songs loaded with great hooks, compelling, socially conscious lyrics, and the heaviness that hard music fans love. The band’s bassist and founding member Brett Rasmussen comments the reissue: "When I found out that the guys at Svart Records were licensing A Place Called Home for a vinyl reissue I was beyond stoked. This album will finally be available again, after being out of press for so long, and this time there will be colored vinyl! I'm really looking forward to spinning this reissue and I'm happy that it will be available for our fans to enjoy again on a turntable." The authorised Svart Records 25th anniversary edition of this modern genre-defining classic contains three bonus tracks previously only available on the European CD version of the album and comes with an insert. Available on Svart exclusive black & white marble vinyl, limited transparent red vinyl, and classic black vinyl. A Place Called Home is out on March 21st, 2025.

Ignite’s A Place Called Home 25th anniversary edition on vinyl with bonus tracks out in March 2025 Svart Records is proud to reissue the Californian melodic hardcore band Ignite’s album A Place Called Home. Previously released on vinyl only on its original release date in 2000 on TVT Records, A Place Called Home will finally be available on wax again on March 21st, 2025. Formed in Orange County in 1993, Ignite's sound is hard to pin down. Their music contains elements of punk, hardcore, alternative, and even heavy metal. Their 30-year career has produced several classic albums with A Place Called Home being their commercial breakthrough album, combining the spirit and muscle of hardcore and the catchy tunes of west coast punk rock. Sixteen songs loaded with great hooks, compelling, socially conscious lyrics, and the heaviness that hard music fans love. The band’s bassist and founding member Brett Rasmussen comments the reissue: "When I found out that the guys at Svart Records were licensing A Place Called Home for a vinyl reissue I was beyond stoked. This album will finally be available again, after being out of press for so long, and this time there will be colored vinyl! I'm really looking forward to spinning this reissue and I'm happy that it will be available for our fans to enjoy again on a turntable." The authorised Svart Records 25th anniversary edition of this modern genre-defining classic contains three bonus tracks previously only available on the European CD version of the album and comes with an insert. Available on Svart exclusive black & white marble vinyl, limited transparent red vinyl, and classic black vinyl. A Place Called Home is out on March 21st, 2025.

We are thrilled to announce another underground gem on our label. This time, it's Collage's incredible 4-track EP "Mit den Puppen tanzen" (Dancing With The Puppets). Originally released in 1984 on the small FMusic label, the 12" EP is a true highlight in German Electro and NDW history, becoming a sought-after item among collectors. It features intense lyrics by singer Katrin A. Kunze, with music composed by Markus Kammann and Jürgen Grah.

Kammann and Grah, both originally from Solingen - a small city near Wuppertal - had previously collaborated on the new wave project Schwarze Bewegung with a different singer. Their self-titled LP was released in 1982 on Bacillus/Bellaphon. During this period, the electro sound pioneered by Kraftwerk evolved into electro-funk, sparked by the release of Afrika Bambaataa's groundbreaking track "Planet Rock", which achieved global acclaim. The iconic Roland TR-808 drum machine, masterfully employed by Arthur Baker's production team, revolutionized dance music with further hits like "Looking for the Perfect Beat" and collaborations with Planet Patrol. Markus Kammann cites these tracks, along with black music as a whole, as key influences on his work. In contrast, much of the electronic music emerging from Germany at the time rather leaned towards the styles of artists like Klaus Schulze and Tangerine Dream. Kammann's influences are evident in Collage's EP, which incorporates elements of early electronic hip-hop, such as the scratching sounds in the title track (created with tape rather than turntables) and short rap segments in "Niemals zurück".

By this time, Kammann and Grah had acquired their own Roland 808 as well as a JUNO-60 keyboard. Grah, originally a drummer, played keyboards and vibraphone, while Kammann, primarily a guitarist, also played bass. All the lyrics on the EP were written and performed by Kathrin A. Kunze, who hailed from Cuxhaven, a northern German city. She moved to Wuppertal around 1983 to study literature, and the group Collage was born.

Through Uwe Bauer, drummer of Fehlfarben, and their manager Horst Lüdge (of Profil), Collage connected with Werner Lambertz, a legendary sound technician from Düsseldorf. Lambertz's state-of-the-art studio featured custom-built sequencers capable of triggering the JUNO-60, as well as expensive equipment like a vocoder. Over the course of a week, the group completed all four tracks.

The EP's hard yet playful electro beats were complemented by Kunze's distinctive performance and introspective lyrics, which lent the songs a uniquely German and wavy touch. Her subtle songwriting conveyed a sense of paranoia and sorrow, as seen in lines like "Ich glaub mir selber nicht. Wer hält denn schon, was er verspricht?" ("I don't believe myself. Who stays true to their word, anyway?").

Unfortunately, the EP was never properly promoted and was distributed solely through the independent market via EFA. Despite this, Collage continued working on new material and pre-recorded an album that garnered label's attention. Polydor expressed interest but proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, the album was never released. In 1987, Kammann, Grah, and Kunze launched another project called Cold End, which released another brilliant and highly sought-after 12" single, Metropolitan Jungle, originally issued on Tam Tam and recently re-released.

The first-ever reissue of "Mit den Puppen tanzen" is limited to only 400 copies - 200 on classic black vinyl and 200 on blue transparent vinyl. The cover art remains true to the original 12" release, designed by the aforementioned Uwe Bauer (aka Bimbo Art). This reissue is a must-have for DJs and collectors alike

First time on vinyl! Unique duets album from country music greats Lorrie Morgan and Pam Tillis (under touring moniker 'Grits & Glamour'). The project features solo performances by Morgan and Tillis as well as fun collaborations and poignant duets. Highlights include original material written by Lorrie and Pam as well as songs penned by some of country music's most talented songwriters. With titles such as “That’s So Cool,” “Bless Their Hearts,” “I Am a Woman,” “I Know What You Did Last Night,” and “What Was I Thinkin’” (a Tillis/Morgan co-write), the 14-song collection is as diverse as the many moods of both women. It shows their remarkable range, showcasing everything from traditional country to cutting edge contemporary. Veteran recording artists and performers, they grace the country format with style, flair, and undeniable talent that is captivating and timeless. Their career highlights are numerous and varied. Combined, they have recorded 28 top 10 hits, more than 18 million records sold, and 12 number one songs. There have been Grammys, CMA Awards, movie credits, television appearances, and Broadway performances. They have rocked arenas, helmed world-class symphonies, and toured on almost every continent. “We've been called divas a time or two,” laughs Lorrie. “Now, I'm sure they meant it in the best sense of the word,” Pam responds. “As far as being 'divas', we share the title and the responsibility!” Striking a more serious note, they both recognize the importance of compromise in this unique and special relationship. They respect one another’s artistry, they respect each other as women, and they respect the fact that they’re carrying on the legacies of their fathers, late Opry star George Morgan and living legend Mel Tillis.

Obliteration is imminent: As The World Dies return with their triumphant second offering. “Nebula” is a colossal lesson in crushing death metal and cosmic mysticism. “‘Nebula’ is the quintessence of what As The World Dies is all about,” band leader and scene veteran Scott Fairfax says. “We pushed our musical boundaries and wanted to create an album that was both brutal and thought-provoking. It’s heavier, darker and more profound than anything we’ve done before.”

While we go about our petty business, leading our small and insignificant live under the sun, death is hurtling towards us at breakneck speed: An asteroid names Apophis will come in very close contact with planet Earth in 2029. Aptly named after the Egyptian god of dissolution, darkness and chaos, it has the power to obliterate life as we know it. Seriously: it doesn’t get any more death metal than this.

Scott Fairfax is well aware of that. The death metal veteran of Memoriam fame is back with his other vehicle of death and destruction, As The World Dies. Three years after their earthshattering and star-studded debut “Agonist”, he’s taking things into space with “Nebula”, a cosmic death metal requiem of colossal proportions. Brought to life and recorded mostly by Scott Fairfax alone in his home studio, this isn’t so much of a band effort and rather the work of a dedicated individual pissed off by pretty much everything going on around him.

Angry, haunting and miserable songs are, though. “Nebula” is full of them. An album like an uncompromising alien threat to our planet, as unrelenting and indifferent as an asteroid. The end is coming, folks. Let’s all enjoy it while we can

Obliteration is imminent: As The World Dies return with their triumphant second offering. “Nebula” is a colossal lesson in crushing death metal and cosmic mysticism. “‘Nebula’ is the quintessence of what As The World Dies is all about,” band leader and scene veteran Scott Fairfax says. “We pushed our musical boundaries and wanted to create an album that was both brutal and thought-provoking. It’s heavier, darker and more profound than anything we’ve done before.”

While we go about our petty business, leading our small and insignificant live under the sun, death is hurtling towards us at breakneck speed: An asteroid names Apophis will come in very close contact with planet Earth in 2029. Aptly named after the Egyptian god of dissolution, darkness and chaos, it has the power to obliterate life as we know it. Seriously: it doesn’t get any more death metal than this.

Scott Fairfax is well aware of that. The death metal veteran of Memoriam fame is back with his other vehicle of death and destruction, As The World Dies. Three years after their earthshattering and star-studded debut “Agonist”, he’s taking things into space with “Nebula”, a cosmic death metal requiem of colossal proportions. Brought to life and recorded mostly by Scott Fairfax alone in his home studio, this isn’t so much of a band effort and rather the work of a dedicated individual pissed off by pretty much everything going on around him.

Angry, haunting and miserable songs are, though. “Nebula” is full of them. An album like an uncompromising alien threat to our planet, as unrelenting and indifferent as an asteroid. The end is coming, folks. Let’s all enjoy it while we can

Nach einem Jahrzehnt, in dem die Band das Beste aus improvisierten Aufnahmeräumen in Lagerhäusern, Wohnwagen und Lofts gemacht hat, ist „For Melancholy Brunettes (& sad women)“, das vierte Album von Japanese Breakfast, die erste richtige Studioveröffentlichung der Band. Produziert von Grammy-Preisträger Blake Mills, zieht sich Frontfrau und Songschreiberin Michelle Zauner von der hellen Extrovertiertheit des Vorgängers „Jubilee“ zurück, um die dunkleren Wogen zu erforschen, die in ihrem Inneren aufgewühlt sind, das launische, fruchtbare Feld der Melancholie, das seit langem als der psychische Zustand von Dichtern am Rande der Inspiration gilt. Das Ergebnis ist eine künstlerische Absichtserklärung: ein reifes, komplexes, kontemplatives Werk, das den romantischen Nervenkitzel einer Gothic Novel heraufbeschwört. „For Melancholy Brunettes (& sad women)“ folgt einer transformativen Periode in Zauners Leben, in der ihr zweifach GRAMMY-nominiertes Durchbruchsalbum ‚Jubilee‘ und ihre Bestseller-Memoiren ‚Crying In H Mart‘ sie in den kulturellen Mainstream katapultierten und ihre tiefsten künstlerischen Ambitionen erfüllten. Als sie über diesen Erfolg nachdachte, erkannte Zauner die Ironie der Sehnsucht, die so oft Glückseligkeit und Verderben miteinander verbindet. „Ich fühlte mich verführt, das zu bekommen, was ich immer wollte“, sagt sie. „Ich flog zu nah an die Sonne heran, und mir wurde klar, dass ich sterben würde, wenn ich weiterflöge“. Das Schicksal von Ikarus und anderen Verdammten verleiht „For Melancholy Brunettes (& sad women)“ sein beständigstes Thema: die Gefahren des Begehrens. Wie zerstreutes Licht führen seine spektralen Teile die Charaktere des Albums durch Zyklen von Versuchung, Übertretung und Vergeltung. In „Orlando in Love“ - ein Riff auf John Cheevers Riff auf „Orlando Innamorato“, einem unvollendeten Epos, das aus 68 Cantos des Renaissance-Dichters Matteo Maria Boiardo besteht - ist der Held ein gutmütiger Dichter, der sein Winnebago am Meer parkt und dem Ruf einer Sirene zum Opfer fällt, seinem 69. Canto (selbst im erhabenen Reich des klassischen Mythos hat Zauner ein Faible für Anspielungen). „Honey Water“ lotet die stille Wut einer Frau aus, die mit einem untreuen Mann verheiratet ist und zusieht, wie er immer wieder der Lust nachgibt wie ein niederes Insekt, das seinen eigenen Untergang herbeiführt Traurigkeit ist in der Tat die dominierende emotionale Tonart dieser Platte, aber es ist eine Traurigkeit der besonderen Art: die nachdenkliche, vorausschauende Traurigkeit der Melancholie, in der die Erkenntnis des im Wesentlichen tragischen Charakters des Lebens mit Sensibilität für seine flüchtige Schönheit einhergeht. Zauner findet in ihr genügend Raum für Hoffnungsschimmer. Es sind die Tröstungen der Sterblichen, die Dichter vor ihr gerufen haben und die Dichter nach ihr immer wieder neu entdecken werden: Liebe und Arbeit, und obwohl sie sich wie stärkende Vorsätze durch die vielen Episoden des Albums ziehen, erklingen sie am deutlichsten im letzten Song, „Magic Mountain“, einer Auseinandersetzung mit Thomas Manns berühmtem gleichnamigen Roman. Für sie fühlt sich jede Arbeit wie das Erklimmen eines Berges an, aber von der Spitze von „For Melancholy Brunettes (& sad women)“ aus blickt sie in die Zukunft.

Nach einem Jahrzehnt, in dem die Band das Beste aus improvisierten Aufnahmeräumen in Lagerhäusern, Wohnwagen und Lofts gemacht hat, ist „For Melancholy Brunettes (& sad women)“, das vierte Album von Japanese Breakfast, die erste richtige Studioveröffentlichung der Band. Produziert von Grammy-Preisträger Blake Mills, zieht sich Frontfrau und Songschreiberin Michelle Zauner von der hellen Extrovertiertheit des Vorgängers „Jubilee“ zurück, um die dunkleren Wogen zu erforschen, die in ihrem Inneren aufgewühlt sind, das launische, fruchtbare Feld der Melancholie, das seit langem als der psychische Zustand von Dichtern am Rande der Inspiration gilt. Das Ergebnis ist eine künstlerische Absichtserklärung: ein reifes, komplexes, kontemplatives Werk, das den romantischen Nervenkitzel einer Gothic Novel heraufbeschwört. „For Melancholy Brunettes (& sad women)“ folgt einer transformativen Periode in Zauners Leben, in der ihr zweifach GRAMMY-nominiertes Durchbruchsalbum ‚Jubilee‘ und ihre Bestseller-Memoiren ‚Crying In H Mart‘ sie in den kulturellen Mainstream katapultierten und ihre tiefsten künstlerischen Ambitionen erfüllten. Als sie über diesen Erfolg nachdachte, erkannte Zauner die Ironie der Sehnsucht, die so oft Glückseligkeit und Verderben miteinander verbindet. „Ich fühlte mich verführt, das zu bekommen, was ich immer wollte“, sagt sie. „Ich flog zu nah an die Sonne heran, und mir wurde klar, dass ich sterben würde, wenn ich weiterflöge“. Das Schicksal von Ikarus und anderen Verdammten verleiht „For Melancholy Brunettes (& sad women)“ sein beständigstes Thema: die Gefahren des Begehrens. Wie zerstreutes Licht führen seine spektralen Teile die Charaktere des Albums durch Zyklen von Versuchung, Übertretung und Vergeltung. In „Orlando in Love“ - ein Riff auf John Cheevers Riff auf „Orlando Innamorato“, einem unvollendeten Epos, das aus 68 Cantos des Renaissance-Dichters Matteo Maria Boiardo besteht - ist der Held ein gutmütiger Dichter, der sein Winnebago am Meer parkt und dem Ruf einer Sirene zum Opfer fällt, seinem 69. Canto (selbst im erhabenen Reich des klassischen Mythos hat Zauner ein Faible für Anspielungen). „Honey Water“ lotet die stille Wut einer Frau aus, die mit einem untreuen Mann verheiratet ist und zusieht, wie er immer wieder der Lust nachgibt wie ein niederes Insekt, das seinen eigenen Untergang herbeiführt Traurigkeit ist in der Tat die dominierende emotionale Tonart dieser Platte, aber es ist eine Traurigkeit der besonderen Art: die nachdenkliche, vorausschauende Traurigkeit der Melancholie, in der die Erkenntnis des im Wesentlichen tragischen Charakters des Lebens mit Sensibilität für seine flüchtige Schönheit einhergeht. Zauner findet in ihr genügend Raum für Hoffnungsschimmer. Es sind die Tröstungen der Sterblichen, die Dichter vor ihr gerufen haben und die Dichter nach ihr immer wieder neu entdecken werden: Liebe und Arbeit, und obwohl sie sich wie stärkende Vorsätze durch die vielen Episoden des Albums ziehen, erklingen sie am deutlichsten im letzten Song, „Magic Mountain“, einer Auseinandersetzung mit Thomas Manns berühmtem gleichnamigen Roman. Für sie fühlt sich jede Arbeit wie das Erklimmen eines Berges an, aber von der Spitze von „For Melancholy Brunettes (& sad women)“ aus blickt sie in die Zukunft.

The sounds, songs, and passages within Power Sucker are the very reason that Young Widows are still a band after an 11-year creative pause; they remain masters at making music with equal parts sonic and emotional weight. Young Widows have inspired scores of underground artists across the globe with their unique collage of noise-rock, hardcore, and post-punk and pioneering presentation. The Young Widows sound - or more accurately, the Young Widows feel - is in full battering ram motion on their fifth studio album. The heaviness of Power Sucker isn't mysterious. The Louisville, Kentucky power trio play their individual parts with such recognizable precision and style that once entwined together each completed piece becomes an integral part of the puzzle. The sizzling guitars, growling bass, and lock-tight drums rip through the pavement that Young Widows had previously laid to allow the most forward-moving vocal arrangements of their now two-decade career. Historical accomplishments aside, Power Sucker has the shock and wonder of a new band's debut album. After all, this is the regrouping of three passionate lifers once again sharing their undying love for the art of sound. No one and no thing can take those powers away.

The sounds, songs, and passages within Power Sucker are the very reason that Young Widows are still a band after an 11-year creative pause; they remain masters at making music with equal parts sonic and emotional weight. Young Widows have inspired scores of underground artists across the globe with their unique collage of noise-rock, hardcore, and post-punk and pioneering presentation. The Young Widows sound - or more accurately, the Young Widows feel - is in full battering ram motion on their fifth studio album. The heaviness of Power Sucker isn't mysterious. The Louisville, Kentucky power trio play their individual parts with such recognizable precision and style that once entwined together each completed piece becomes an integral part of the puzzle. The sizzling guitars, growling bass, and lock-tight drums rip through the pavement that Young Widows had previously laid to allow the most forward-moving vocal arrangements of their now two-decade career. Historical accomplishments aside, Power Sucker has the shock and wonder of a new band's debut album. After all, this is the regrouping of three passionate lifers once again sharing their undying love for the art of sound. No one and no thing can take those powers away.

Midan’s new album pays homage to the beautiful music of Brasil. The young producer, DJ and digger from Cologne channels his deep love for Bossa Nova, Samba and MPB (Música Popular Brasileira) into a 17 track strong album entitled “Letter To Brasil”. Accompanied by his good friends FloFilz, Saib, Mr.Käfer and Lesky. Artwork by Sao Palo-based illustrator André Cast.
Born and raised in Paris, the half German-half Algerian producer is one the most exciting new jacks on the German beatmaker scene. At the age of 23 Midan has already released a bunch of albums for renowned labels like Casual Low Grind, Mutombo Recods and Beat Jazz International.

Orange Vinyl. Benefits return with the their highly anticipated second album, "Constant Noise" Due out 21st March via Invada Records,"Constant Noise" follows the band's debut album `NAILS' which earned widespread press and radio support and appeared in album of the year lists inc. Louder Than War (#1), BBC 6Music, NME, The Quietus,The Line Of Best Fit and more. After a succession of different line-ups, Benefits have now settled as a two-piece made up of Hall and electronic virtuoso Robbie Major. "We're still angry" says Hall, "just angry in a different way to before. If the previous record was black and white, we wanted this to be technicolour." The first taste of this new musical direction came in the form of "Land Of The Tyrants", which saw the band delving into bass-heavy, dance inflected rhythms and subtle industrial undercurrents. Follow-up single `Relentless' featured The Libertines' Peter Doherty and saw the band move further into ambient electronic atmospherics. Doherty is just one of the collaborators on the new record, Zera Tonin, the singer of queerpop-electro duo Arch Femmesis, Neil Cooper of Therapy?, and Middlesborough rapper Shakk all make cameos. In addition to the guest musicians, the album also features production from James Welsh (Phantasy Sound), and James Adrian Brown (ex-Pulled Apart By Horses)who helped to guide the new direction. The result is an album that gleans as much from the likes of Underworld and Leftfield as it does the likes of The Streets or Beastie Boys in their pomp, or even the 90s / early 00s Indie Sleaze-era. Orange vinyl comes with full album download (inc. two tracks not on vinyl)

Tina Turner’s Iconic breakthrough album is celebrating its 40th anniversary, with the 2015 remaster now available on this limited edition Pearl Vinyl.

Private Dancer catapulted Tina into superstardom, selling 5 million copies in the US alone. It featured the #1 single What's Love Got To Do With It as well as top 10 hits, Let's Stay Together and Private Dancer written by Dire Straits singer/guitarist Mark Knopfler. Tina cleaned up at the 1985 Grammy Awards claiming 4 awards including Record Of The Year, Song of the Year and Best Vocal Performance.

Tina Turner’s Iconic breakthrough album is celebrating its 40th anniversary, with the 2015 remaster now available on this limited edition picture disc.

Private Dancer catapulted Tina into superstardom, selling 5 million copies in the US alone. It featured the #1 single What's Love Got To Do With It as well as top 10 hits, Let's Stay Together and Private Dancer written by Dire Straits singer/guitarist Mark Knopfler. Tina cleaned up at the 1985 Grammy Awards claiming 4 awards including Record Of The Year, Song of the Year and Best Vocal Performance.

Born from a childhood friendship, the five members of Ciao Kennedy have crafted their own sound and feeling after exploring a variety of different musical horizons. Following the release of EPs 'Keldercave' (2021) and 'the problem is' (2022), as well as being featured on the compilation Lefto presents Jazz Cats Vol. 3 in the spring of 2024, it was only a matter of time for the Brussels-based band to reappear on the music circuit.

As part of the Magma collective, alongside groups like TUKAN and ECHT!, they started to stand out with their instrumental music merging the playfulness of jazz,the repetitive facets of post-rock, and the overtly grand electronic sound evident in what is nowadays described through the grapevine as the 'Brussels sound'.

With Solarium, their debut album set to be released under the Sdban Ultra label, they have found a course and common denominator in guitars drenched with post-rock effects, steered by hypnotic electronic beats, creating an atmosphere of rare, dense melancholy, peppered with a sound that belongs in a blockbuster sci-fi movie.

Ciao Kennedy and its debut album are a tangy candy bursting in your mouth, the thrill of an afternoon at the fair, modernity meeting up with the nostalgia of childhood. Or standing beneath the shimmering neon lights of a rainy night, like colourful poetry, blending tenderness with electric intensity. Many of these musical descriptions would be completely off the mark, but after a few listens, they don't seem to miss the mark either. There's something for everyone to discover on this album, oscillating between the familiar and the unexpected, melancholy and cheer, and while everyone keeps on talking about something being a 'vibe', we can only conclude that Ciao Kennedy is the only one putting this into action.

To celebrate the release of Solarium, the band will host a release party at the Brussels venue Botanique on April 17, 2025. A must-attend event for everyone who wants to see if the live reputation which precedes Ciao Kennedy is actually true. Whatever happens, make sure to keep that date free.

Release show: 17/04 Botanique, Brussels.

Warm welcome to the label this time comes to the duo of producers from Netherlands called pH Project. The musical union formed by Pelle and Herra that are both have been doing what they do for many years and played alongside as well many admirable artists which you can find on the archives of the internet if the curiosity will get the best of you. The maestros of the project have provided us with 3 ready to tremor up the speakers cuts with their signature groove and knowledge that they have acquired in the trenches of rave during their activity on the scene. Finalising this 12” vinyl cut is Levat, the producer who doesn’t need introduction as his persona and non-stop dedication for music speaks for itself. Taking non-standard approach of taking stems from all the originals hence the name of the work is “Thritrakk”, combining the elements of all three tracks we have this dark electro monster audio gracing the B2 side. The work of a collaboration of styles and sonically dedicated minds have resulted into this EP “Obvitrip” coming to life for us to enjoy.

Unverfälschter, kaputter Art-Punk aus San Diego's Gravity-Szene Mitte der 90er Jahre. Hier gibt es drei Alben von Clikatat Ikatowi - "Orchestrated And Conducted By...", "River Of Souls", und eine erstmalige Vinyl-Pressung ihres 1993er Demos, alle neu abgemischt und remastered von den analogen Originalbändern. Das 24-seitige Begleitbuch enthält Tony Rettmans farbenfrohen Essay mit Dutzenden von Fotos und Flugblättern aus dieser Zeit, die die Geschichte einer Stadt und einer Szene erzählen, die die spätere Form des kommenden Lärms definierte.

Unverfälschter, kaputter Art-Punk aus San Diego's Gravity-Szene Mitte der 90er Jahre. Hier gibt es drei Alben von Clikatat Ikatowi - "Orchestrated And Conducted By...", "River Of Souls", und eine erstmalige Vinyl-Pressung ihres 1993er Demos, alle neu abgemischt und remastered von den analogen Originalbändern. Das 24-seitige Begleitbuch enthält Tony Rettmans farbenfrohen Essay mit Dutzenden von Fotos und Flugblättern aus dieser Zeit, die die Geschichte einer Stadt und einer Szene erzählen, die die spätere Form des kommenden Lärms definierte.

Im Herbst 2022 lebte Phil Cook allein in einem kleinen Haus am Rande von Feld und Wald in North Carolinas Piedmont. Die meiste Zeit seines Leben lang lebte er in der Nähe der Herzen der Städte, die er sein Zuhause nannte, in der Nähe des ächzenden Verkehrs und des Trubels in den Coffee Shops. Diese Nähe Nähe trug dazu bei, dass der gesellige Cook ein produktiver Mitarbeiter wurde, als Mitbegründer von Megafaun bis zur Zusammenarbeit mit The Blind Boys of Alabama, Bon Iver, Hiss Golden Messenger und unzähligen anderen. Aber Cooks nächster war ein Wanderweg, und so ging er hin und lauschte, hingerissen erst von der Stille und dann von den vielen Vögeln. Er begann, sein Fensterbrett jede Nacht einen Spalt offen zu lassen, damit der Chor der Vögel im Morgengrauen ihn begrüßte. Cook begann, diese verworrenen Vogelstimmen aufzunehmen, und er schloss sich ihnen an. Wenn die Sonne schließlich hoch stand, hörte Cook sich die Aufnahmen des Tages an und improvisierte in Echtzeit auf dem Instrument, das seine erste und unerschütterlichste Liebe seines musikalischen Lebens geblieben ist: das Klavier. Als Cook diese Hütte nach einem Jahr verließ, zog er in ein eigenes Haus in Durham, mit viel Platz für seine beiden Jungs zum Spielen und für etwas, das er noch nie besessen hatte: ein richtiges Klavier. In den nächsten Monaten verbrachte Cook unzählige Stunden damit, an diesen Stücken zu feilen. Während des Unterrichts beim großen Südstaaten-Gospelpianisten Chuckey Robinson hatte dieser Cook aufgefordert, weniger Noten zu halten und seine Melodien nicht mehr durch die Verwendung der Pedale des Instruments als Krücken zu benutzen. Seine Musik hatte plötzlich mehr Klarheit, und die Klänge und Gefühle, die sie transportierten, hatten mehr Raum zum Funktionieren. Cook grub sich in die Gefahr und Freude, in die Idee, dass wir unsere Körper zu Knoten verdrehen um zu verstehen, was das Beste für unsere Herzen ist. Im April 2024 kehrte Cook in das Chippewa Valley in Wisconsin zurück, wo er aufgewachsen war. Sein lebenslanger Freund und Bandkollege, Justin Vernon, hatte gerade die Renovierung von April Base abgeschlossen, dem Studio, in dem Cook in den letzten 15 Jahren an mehr als einem Dutzend Platten gearbeitet hat. Cook bat Vernon, Appalachia Borealis so einfach wie möglich zu produzieren, nur zuzuhören und in zwei ausgedehnten Nachmittagssitzungen Feedback zu geben, um die richtigen Takes auszuwählen, die, die das Herz erfasst haben. Natürlich wurde das Ganze komplizierter, als sie anfingen in dem Prozess zu experimentierten. Vernon fügte die Vogelstimmen zu Cooks Kopfhörern hinzu oder entfernte sie, um zu sehen, wie sie sich auf sein Spiel auswirkten. Oder sie leiteten seine Noten durch eine massive Hallkammer und Cook reagierte darauf mit hauchzarten Improvisationen. Appalachia Borealis ist eine zutiefst ergreifende und persönliche Sammlung von 11 Klavier Meditationen, die die emotionale Bandbreite einer vollen und offenen Existenz abbilden. Inspiriert von diesen Improvisationen auf der Fensterbank, spiegelt es nicht nur die Aufruhr und die Traurigkeit einer schwierigen Zeit für Cook, sondern auch die Hoffnung, das Licht und die Freude, nach der anderen Seite zu schauen. Manchmal kann man noch die Vögel hören, deren Melodie und Zeit so viele dieser Lieder inspiriert haben. Selbst wenn sie nicht in Hörweite sind, bleibt ihre Essenz bestehen.

The Austin, TX-based singer-songwriter—whose decades-long career has seen six full-length studio albums, three EPs, countless collaborations, and an illustrious supergroup project in Glorietta—spent a season of rest away from his focus on writing songs. In the wake of the end of a long relationship, he wanted to prioritize processing his grief as a human, not as an artist bleeding on the page. “I love all the records I’ve made in the past. But in making them, there was always the thought in the back of my mind of where and what it could get me. I made both creative and business decisions with a goal in mind... a goal that often never came. This time it was all about just the joy of making it, about having fun with it.”

Besançon, sometime before lockdown… Still in high school, Laszlo, Baptiste, Matthieu, Maël and Marius, driven by a common desire to make people dance till they sweat, formed Wet Enough!?, and began to make music together, driven by a burning passion for funk, electro, rap and disco.

Early 2023, they were contacted by Antoine Rajon from label KOMOS who was to go on to produce their debut EP “DASH”, released in January 2024. A series of gigs followed in Paris, London, Brussels and the Jazz à Vienne festival under the aegis of Astérios Spectacles. That same year, they were also selected to take part in the Inouïs talent showcase at the Printemps de Bourges, as representatives of the Bourgogne Franche-Comté region.

The “Burgundy Five” then studied at music schools in Brussels, Amsterdam and Lausanne, in institutions more open than their French counterparts when it comes to exploring the full gamut of musical styles; they also frequently met up for composition sessions and concerts.

In September 2024, they left for London to record their debut album, in the studio of producer and musician Malcolm Catto, as he was charmed by a live at ‘91 Living Room’ in Brick Lane. The Heliocentrics drummer and sonic wizard behind Yussef Kamal’s famous ‘Black Focus’, used his trademark analogue approach to help craft 10 powerful tracks, collectively composed and arranged by the group.

On this release, we detect the influence of American groups like Ghost-Note and Butcher Brown, but also an energy almost akin to punk rock. And especially, we can sense an enthusiastic appetite for defying genres, without a care for codes or the constraints of aesthetic purism.

Their starting point is new jazz, conjuring up current scenes in the UK and America (‘Green Tangerine’, ‘Emile Lédonien’, ‘Lullaby for a riot’), but they soon wander into the club with the unashamed housey inflections of ‘Dump’ (carried aloft by Galawesh Heril on vocals). When Marius, the trombonist grabs the mic, he displays mastery of chiselled flow and old school French hip-hop vibes (‘Lascars, San Pé’) as well as ultra-modern, alternative aesthetics (Les 2).

During the studio sessions in London, the band invited two British musicians to guest on the record - a junglist rapper from Manchester, OneDa, who illuinates up single ‘One Leg’ with the brightness of her rhymes; and a Londoner, saxophonist Camilla George who offers a vibrant solo, riding high over the amped-up groove of Funk4.

There’s no doubt they shall join the group for upcoming shows whose philosophy is also expressed in the album’s title :

DANCING PEOPLE DON’T DRY.

Kicking 2025 off with a NEW LIFE, Kito Jempere resumes operations retro-outfit shining, all machines blazing, pulling up with a boiling four-trackpackage bound to get dance floors quivering in excitement. A stick ofdynamite flung into the mouth of today's corporate dance music blandness, 'New Life' finds the Saint Petersburg producer spitting multi-strain madnesswith reckless fun and adventurous panache. Take New Order in theirTechnique days, sprinkle with early hip-hop breaks and finish it with a funk-savvy mix of acid, happy hardcore and ghetto tech jack, and you prettymuch have the opening track and lead-single 'New Life' capsulized to a tee.
A blissed-out, choppy ride spinning recklessly into dance-y abandon, 'LoveFilter' takes us on a heavy-lidded trip across dreamy electronic folds andonto vaporous apexes, where drum-heavy jolts and sliced vocals collidewith spacious pads from outer space. As hypnotic as it reveals hard-hitting, 'Killer Line De-Part' deploys a warped kaleidoscope of trancey shades,grunge-y grit and largely '80s informed analogue wizardry, convergingtowards the most hair-raising finale with your feet in the air and a dumbsmile across the face. Rounding off the record, 'Put Love Into Your Heart(Club Mix)' is a luminous slice of trippy, feelgood electronics engineered fordance floor communion and uplifting let-go. Fill your heart with love.

ProleteR, French producer and iconic figure in the international electro swing and swing hop scene, makes a strong return with a highly anticipated new album. Announced and available for pre-save on streaming platforms five months before its release on March 14, 2025, Temperamental Cats promises a unique musical journey through genres, blending jazz samples, hip-hop rhythms, and electro-soul melodies, while showcasing the distinctive style that has earned this independent beatmaker over 200 million streams across platforms.

Temperamental Cats affirms ProleteR's desire to mix genres, eras, and cultures. This new album will feature American rapper Napoleon Da Legend, Canadian artist Spark Houston, and Japanese producer Takada Fu.

ProleteR is also preparing for his grand return to the stage with a tour titled Swing Hop Party. This will be an opportunity for his fans to see him live, accompanied by a brass section, for a timeless moment driven by his expert patchwork of samples and the rhythms that have made him famous.

"“It clicked for me one day, that the album was going to be about hornets,” explains Sputnik, the mononymous songwriter behind the noise-pop project Weatherday.

“It just made sense to me.” Hornet Disaster, Weatherday’s follow-up to their 2019 debut Come in, and spiritual successor to 2022’s collab release Weatherglow, is their most expansive work to date. In Weatherday’s initial bout of inspired writing and recording, they produced over 70 songs for the record, but not before they had a complete, overarching narrative that was coherently tied back to Sputnik’s previous work.

It’s a bustling record with disparate songs each vying for space like wasps in a swarm. It can inspire caution and chaos, but there’s wonder, purpose, and a certain familiarity there, too. Weatherday has extended the knotted, thrashing maximalism of Come in by doubling down with the uncompromised, no-stone-unturned nature of Hornet Disaster. Where Come in was the product of an artist searching for their voice, Hornet Disaster represents the joyful abandon that comes from having found it."

"“It clicked for me one day, that the album was going to be about hornets,” explains Sputnik, the mononymous songwriter behind the noise-pop project Weatherday.

“It just made sense to me.” Hornet Disaster, Weatherday’s follow-up to their 2019 debut Come in, and spiritual successor to 2022’s collab release Weatherglow, is their most expansive work to date. In Weatherday’s initial bout of inspired writing and recording, they produced over 70 songs for the record, but not before they had a complete, overarching narrative that was coherently tied back to Sputnik’s previous work.

It’s a bustling record with disparate songs each vying for space like wasps in a swarm. It can inspire caution and chaos, but there’s wonder, purpose, and a certain familiarity there, too. Weatherday has extended the knotted, thrashing maximalism of Come in by doubling down with the uncompromised, no-stone-unturned nature of Hornet Disaster. Where Come in was the product of an artist searching for their voice, Hornet Disaster represents the joyful abandon that comes from having found it."

TC.KYLIE x The Hourglass brings dynamic jazz fusion music from her debut album, integrating Hong Kong, Japanese and British cultures. Kylie leads her band dynamically on stage playing keyboard and synth keytar, iconic in Japanese jazz rock & highly memorable to watch.TC.KYLIE, a jazz fusion pianist, performs regularly in both Hong Kong and London. Inspired by the likes of Shaun Martin and Robert Glasper, she also continues to write songs in the areas of Japanese acid jazz, following Fox Capture Plan, Jabberloop, Toconoma, Jizue and Bohemianvoodoo. Prior to becoming a performing artist, Kylie previously worked as a news documentary journalist for radio and TV networks in Hong Kong, She spent much of her time connecting human stories and investigating the connections between people and society which was inspiring and enlightening but also often heavy and difficult within increasingly tricky political landscapes unfolding around her.

Under the changing social environment in her hometown and with the hit of the pandemic, she decided to take an indefinite well-earned break in 2020 to take care of her own well-being & passions. During a stay at a jazz cafe and hostel in Lake Towada in Aomori, Japan, encouraged by the hostel owner as a jazz enthusiast; Kylie sat in front of the piano, contemplated and played scattered notes to express what she had been enduring during her time as a political/social reporter.

Finding herself joyfully picking up music in her life again after years of leaving it behind, she wrote the song "The Last Grief" a tribute to one of her deepest sorrows and in remembrance of her best friend in childhood who battled heavily with depression. This song went on to be an official selection for the International Toronto Music Video Festival as well as the Toronto Asian Independent Film Festival in 2023.

Cross Record's new album, Crush Me, is steeped in the pressures and wonders of existence—a profound statement, especially coming from artist and death doula Emily Cross. A two-and-a-half-year gestation period offered challenges, disappointments, and joys reflected in the cramped space of the album, which explores how we handle the weights we carry. Emily Cross had held hundreds of Living Funerals and was as many episodes deep into her podcast, What I’m Looking At. She was five years into serving clients as a death doula and fresh off a tour with Loma, her band with Jonathan Meiburg (Shearwater) and Dan Duszynski, when she began work on her fourth album. After moving from Austin, TX to Dorset, UK, she established the Steady Waves Center for Contemplation (named after a track from her second record, Wabi-Sabi ), where she hosted Living Funerals, met clients, scheduled mindful tea sessions, and showcased experimental music nights. All the while, she was scribbling down song ideas. Cross’s Tascam four-track demos finally reached readiness, and she sent them to an interested major independent label. She was encouraged to push her imagination to the limits of what a record could be. So, unlike her usual process of recording as inexpensively as possible, she prepared a two-week recording session in Germany with a group of skilled musicians from around the world. True to her previous work, Cross left plenty of room in her demos for experimentation, collaboration, chance, improvisation, and complete obliteration, then resurrection when necessary. Comfort and traditional structure were eschewed in favor of unaccountable magic, prayers whispered into The Void. Cross is comfortable with the chaotic and unpredictable, a perspective demanded by her work and writing style. The Berlin Airbnb was packed with people, instruments and luggage. During a ride down in a tiny elevator to the studio, Cross realized how central the sense of being crushed was to the album. “I thought of it later and it dawned on me that ‘Crush Me’ perfectly embodied the record,” says Cross. Yes, the weight of a body laying limply atop yours, or the tight squeeze of a hug, can be pleasant. Go too far, and you’re in the hands of a cruel, adolescent god. Upon leaving Germany, the record was unfinished, and without a roadmap. As passages were recorded as isolated parts, Cross and musician Marcin Sulewski collaborated, facing a haphazard brick pile, waiting to be assembled. Work dipped in and out of view like a buoy bobbing in a violent sea over many months. During that time, the aforementioned interested label went radio silent, suddenly not seeming so sure of a thing. Collaborators disappeared, continuing the themes of abandonment, surrender, and disarray that followed the project. Cross physically felt her entire body go numb: In a twist of fate, the record was rescued by long-time friend and supporter Ben Goldberg at Ba Da Bing Records who was eager to help realize the project. Cross worked for months on the album, all the while nursing a pregnancy and continuing her full-time funeral work. The last minute participation of Seth Manchester of Machines with Magnets, who mixed and mastered, was an essential liferaft. He gave true final form to the abstracted songs. Crush Me has the effect of a spell being cast, with songs balancing heaviness and levity. Vocals, guitars, and keyboards float above, as drums and upright bass (often bowed) lurch beneath. On “Rolling Backwards” percussion wanders about while feedback squeals and persists in the distance. “Dorset Area Of Natural Beauty” starts with a thick, unhinged church organ progression punctuated by the disquieting sounds of laughter reaching the point of hysteria. “God Fax” is a slow-moving panic attack, with shallow breaths in and out framing a guttural cacophony like a wooden freighter encountering increasingly turbulent waters and vocals struck emotionless by autotune. The album ends with “Twisted Up Fence,” a reflection on life from outside the wall--wistful, warm, and comforting. Cross, likely with a smile on her face, sings: “You say it’s an endless abyss” “And I say the abyss is the best”

Released in 1990, Permanent Damage is the fifth and final studio album by British alternative rock band The Icicle Works. Fronted by Ian McNabb, the album features the band’s signature blend of melodic songwriting and energetic rock. Tracks like "Motorcycle Rider" and "Melanie Still Hurts" highlight McNabb's evocative lyrics and strong vocal delivery, making the album a memorable conclusion to their career. Permanent Damage reflects the band's ability to evolve while staying true to their alternative rock roots. Although it marked the end of The Icicle Works' original run, the album holds a special place in the hearts of fans for its emotional depth and musical craftsmanship. For those exploring the band’s discography, Permanent Damage serves as a poignant farewell from one of Britain’s cherished alternative rock groups. Permanent Damage is available as a limited edition of 500 copies on translucent yellow coloured vinyl.

“One of the most compelling and complex releases of Lee ‘Scratch’ Perry’s post-Black Ark canon, Mercy is the fruit of a long and complex working process that has yielded exceptional results. Spearheaded by the maverick artist and musical outlier Peter Harris with Fritz Catlin, the drumming co-founder of industrial funk dub act, 23 Skidoo, Mercy’s experimental sonic occupies its own space.” David Katz (People Funny Boy: The Genius of Lee “Scratch” Perry).

Dash the Henge are excited to announce the vinyl release of Mercy an innovative record featuring the legendary Lee ‘Scratch’ Perry and the work of Peter Harris and Fritz Catlin. It will be preceded by vibrant visual representations of key tracks ‘Reggae Poison’, ’Row Fisherman/Whale Song’ and ‘This is Hell’ created by Peter Harris and Llyr Williams. “I always saw Lee as a performance artist rather than a musician in the traditional sense, so this conceptual backing feels like a more accurate setting for his stream of conscious performance art,” Peter Harris explained. “There is an attention to Lee’s history here too, something that elevates the musical collage with the echoes informed by albums like Super Ape where earlier tracks were recorded over again. In ‘Big Fish,’ the lyrics pay homage to Bob Marley’s ‘Small Axe’ and the tune references Perry’s version of ‘Sugar Sugar,’ which he recorded with the Silvertones. Although the structure might seem chaotic, the songs were crafted over a long period of time and the approach was the same as making a painting, where foundations are worked on then painted over and over until it is full wrested.” Nathan Saoudi (founder Dash The Henge/Fat White Family) boils it down. “It’s kind of quintessential outsider music - I can’t explain what they are doing, but they have a why, and that’s enough. That’s why I needed to get involved.”

Reissue of Israel Vibration’s 1991 album ‘Forever’.
Israel Vibration are a legendary Jamaican reggae band, formed in the 1970s and renowned for their influence on the international reggae scene. Originally made up of Cecil Skelly Spence, Albert ‘’Apple Gabriel‘’ Craig and Lascelle ‘’Wiss‘’ Bulgin, the group is known for its unique vocal harmonies and conscious lyrics addressing social, spiritual and political themes.

45 Pounds is a record of thrilling cacophony: whirring drums meet the sound of instruments which have been twisted and bent into new shapes, all of which are paired with the arresting growls of Zack Borzone. Across the record the four-piece re-imagine what is possible within the confines of a band set up, creating music that perfectly encapsulates the information overload of our times.

The band have become known for their stellar live performances and now with 45 Pounds they have set that electrifying feeling to record. With 45 Pounds YHWH Nailgun have created a statement that is short to cut through the modern day post-algorithmic sludge. Stay tuned for more news.