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This is the vinyl format of the album that was released March 26th 2021 . A 13 song album which features the hit single "Bang!". Strong UK fanbase with 2019's tour selling out (included London's O2 Forum). A recent global streamed event sold over 60k tickets and generated over 300k views. News At Ten feature last month, The Late Late Show in US, plus more TV promo planned. Ads, features, interviews sand reviews across all press. Online/ social media activity. Specialist radio support. Poster campaign and database mailout.

The Chilean/French duet are known for their hypnotic music which incorporates eerie sounds generated by raw and mineral materials (metal, rocks etc) to create tracks that are in turn hyper-rhythmic and dreamy, poised between postpunk rock and electronic dance music. The band have also been very active in the field of multimedia & performance arts, and Xpujil explores that other dimension of their talent. Released on Crammed's revered MADE TO MEASURE series (which is dedicated to experimental, minimal & ambient music), Xpujil consists of a single 40-minute track, which draws the listener into an aural, immersive experience. Based on sounds recorded by Nova Materia during a trip in the Mexican jungle, in Maya territory (Xpujil is the name of an old Mayan city, now lost in the middle of the forest), the album was then produced in the band's Parisian studio, and features contribution by electronic musician/drummer Ikue Mori (of DNA fame) and cellist Gaspar Claus. The album was mixed in binaural, and is best enjoyed on headphones. Nova Materia will be performing Xpujil in appropriate settings (museums, performance arts spaces), with multichannel immersive sound systems. Nova Materia are Caroline Chaspoul and Eduardo Henriquez, formerly with Panico, the alternative rock band they had created in Chile, with which they toured around the globe and released several albums.

Beautiful orange & yellow sunburst vinyl - Solstice '21 sees twelve bright lights of independent electronic music mark the coming Summer Solstice. In such dark days, the age-old practice of celebrating the move from shadow to light, feels steeped in a renewed symbolic power. Solstice '21 marks this significant moment with a rich array of musical offerings. Reflective, lively, and always powerful, this collection is spun with modern twists of an ancient thread. Rotator - This is the first outing under this moniker from Justin Owen, also known under the alias Licit, as well as being a protagonist in the world of modular synthesis as the man behind the Abstract Data modules; Letters from Mouse - "Bubbling analogue synthesis from Scotland." This analogue synth maestro and inimitable broadcaster (aka The Magic Window), boasts a string of quality releases, including the recent highly acclaimed album An gàrradh, also on Subexotic; Cub/cub - "Cub/cub explores the world in-between nostalgia and nihilism, analogue and digital, real and false; creating evocative and mournful musical collages." First discovered on Boards of Canada forum Twoism, Cub/cub's two debut releases with Subexotic demonstrated his considerable talent to mix fascinating texture with beguiling melody. With an astonishing follow-up album coming soon, his rising star feels unstoppable; Orbury Common - "aural ephemera from the home of the orbs." This mysterious duo from the West of England are blessed with delightful musical cunning; their brilliant debut on Subexotic lifted the lid, and this offering reaffirms exciting times lie ahead; Onepointwo - "Minimal electronics, abstract radio signals and dystopian soundscapes are proceeded from both digital and analogue sources." A creator of intricate yet powerful collage, with finely wrought motifs that repeat and build to create a shimmering psychedelic impact. This is Onepointwo's glorious trademark. Spell-binding releases already exist on Woodford Halse, Poeta Negra, Lotus, as well as an imminent powerhouse album forthcoming on Subexotic; Giants of Discovery - "Experimental electronica with the occasional noisy guitar thrown in." Giants of Discovery's ability to get to grips with the musicality of his subject, has lead to previous exquisite sojourns into realms such as Victorian cosmic horror and Greek mythology, as well as an equally fantastical, towering follow up album on Woodford Halse; Wonderful Beasts - "A Wonderful collaboration between boycalledcrow and Xqui." Their playful interaction finds ways of crafting acoustic fragments into unexpected kaleidoscopes of sound. With beguiling debuts on cult label Wormhole World (soon to be followed up by an extraordinary new album on Subexotic), there is a kind of breathless magic about everything they do; Dogs versus Shadows - Electronic Sound Magazine says "A rare example of gamekeeper turned poacher...a welter of impressive electronica." Lee Pylon's ability to straddle a wealth of uncompromisingly inventive creations, and his broadcasting prowess as the much loved Kites & Pylons, is already the stuff of legend. A multitude of releases across many labels including Subexotic, Woodford Halse, Miracle Pond, Third Kind, Submarine Broadcasting, Sensory Leakage, provide a glittering treasure trove of work; Counter Silence - A stalwart of Subexotic, Counter Silence's sparkling and wistful musical work very much stands alone in temperament and style. 2020's Pathways EP on Subexotic remains a precious oasis, imbued with a haunting solitude that lives on in the memory; Transient Visitor - "All music unlocked by Alex Cargill (C.O.I. Central Office of Information) and Martin Jensen (The Home Current)." These two intercontinental maestros (well Sidcup & Luxembourg) boast impressive solo back catalogues across many labels (including Castles in Space, Polytechnic Youth, Woodford Halse). Their newly conceived collaborative Transient Visitor project, brought about the superb TV1 album in 2020 - we can see the sparks fly again in this welcome 2021 return; Simon Klee - "Natural, Electric, Organic Psychedelic - Sounds, noise and psychedelic beats." Klee's playful alchemy engages the mind and spirit, as witnessed in a flurry of top quality releases in recent times (e.g. Subexotic, ANR, Woodford Halse), and there is a visceral joy in his work that is perfectly placed for a midsummer celebration. Klee also produces a truly excellent mixcast and increasingly essential tape label, both under the guise of Anticipating Nowhere; Rupert Lally - "Hailing originally from England but now based in Switzerland, Guitarist, Percussionist and Electronic Musician Rupert Lally began his career as a Sound Designer and Composer for Theatre and TV, before launching his solo career in 2005. Since then his releases have blurred the boundaries between electronic and acoustic music." Lally's consistently brilliant work is always a highlight of the electronic music calendar, including recent stellar works across many labels such as Spun Out Of Control, Third Kind, Woodford Halse, and Modern Aviation.

City Slang is thrilled to welcome Pom Pom Squad into the City Slang family. The way Mia can nod to her influences, be they of the iconic 60’s girl group, characters from a John Waters film, or cutting edge fashion from today, while simultaneously spinning a beautiful and original story in her songs, is absolutely thrilling. This is the kind of record that makes you not only excited to see what you can do with an artist in a post-pandemic future, but also how you can build their career in the present circumstances. We cannot wait for you to hear this record in its entirety!

Produced by Sarah Tudzin of Illuminati Hotties and co-produced by Berrin herself, it’s a record that plays out like an exorcism in front of your bathroom mirror -- confronting the dark we’ve had planted within us and then ripping it out, all while watching every second of it. It’s vulnerable yet triumphant, deliciously irreverent & inviting yet sneering in the faces of those that had once tried to define her. First single “Lux” was unanimously praised by press including Stereogum who called it “a serrated blast of noise in which Berrin takes someone to task with glee” and The Fader who said “come for the scrappy punk reimagining of The Virgin Suicides, stay for Pom Pom Squad's galvanizing treatise on feminine awakening in a world that would rather keep your eyes shut.”

Mia Berrin spent her childhood trying to find where she fit right in the world, looking to the pop culture icons on TV in hopes of finding an image she connected to. She connected with the films of John Waters and David Lynch, loved the dark campiness found in Heathers, was in awe of the power of women like Courtney Love and Kathleen Hanna. Growing up as a female of color who would later in her life unearth and embrace her queerness, discussing and reconciling

Recent Church Road Records signees, Outlander have today announced
their upcoming EP Sundowning / Unconditional.
The Birmingham based quartet’s latest release follows their well received 2019
debut album, The Valium Machine, and expands upon their established slowcore foundations with richly layered shoegaze and doom.
Recorded and mixed over a four day period by Neil Kennedy at the well revered
The Ranch Production House and mastered by Jack Shirley at The Atomic Garden, Sundowning / Unconditional shines in it’s chameleonic shifts between altrock sensibilities in the vein of Nothing and the languor of Hum and Holy Fawn
at their most oppressively dreamlike.
The marriage of shoegaze and doom has proved fruitful in recent years, in part
due to it’s fatalistic capturing of 21st century ennui, and Outlander have undoubtedly added themselves to the burgeoning list of exciting new acts that
are tapping into the zeitgeist’s current listlessness.

Produced by long-time friend Cate Le Bon, ‘Boy from Michigan’ is Grant’s most
autobiographical and melodic work to date. Grant stopped being a boy in Michigan aged
twelve, when his family moved to Denver, Colorado, shifting rust to bible belt, a further
vantage point to watch collective dreams unravel. Across 12 tracks, Grant lays out his
past for careful cross-examination.
In a decade of making records by himself, he has playfully experimented with mood,
texture and sound, all the better for actualizing the seriousness of his thoughts. At one
end of his musical rainbow he is the battle-scarred piano-man, at the other a robust
electronic auteur. ‘Boy from Michigan’ seamlessly marries both.
With Le Bon at the helm, Grant pared back his zingers, maximizing the emotional impact
of the melodies. A clarinet forms the bedrock of a song. One pre-chorus feels lifted from
vintage Human League. There is a saxophone solo.
‘Boy from Michigan’ ultimately swings between ambient and progressive, calm and livid.
The album’s narrative journey opens with Grant at his artistic prettiest, three songs drawn
from his pre-Denver life (the Michigan Trilogy, as Grant calls them): the title track, ‘The
Rusty Bull’ and ‘County Fair’. Each draws the listener in to a specific sense of place,
before untangling its significance with a rich cast-list of local characters, often symbolizing
the uncultivated faith of childhood.
Elsewhere, tracks like ‘Mike and Julie’ and ‘The Cruise Room’ offer an affecting plunge
deep into Grant’s late teenage years in Denver, while the midpoint of the album is
highlighted by ‘Best In Me’ and ‘Rhetorical Figure’, a pair of skittish, scholarly dance tunes
that build on the lineage of Grant’s electropop heroes, Devo.
Childhood as a horror narrative is the theme of ‘Dandy Star’, which observes a tiny Grant
watching the Mia Farrow horror movie ‘See No Evil’ on an old family TV set and finally, on
‘The Only Baby’, Grant removes his razor blade from a pocket to cleanly slit the throat of
Trump’s America, authoring a scathing epitaph to an era of acute national exposition.
Though he has lived in Iceland since 2011 - the same year he was also diagnosed HIVpositive - Grant spent his childhood and formative years in the US and maintains US
citizenship. Growing up, Grant was subjected to a deeply ingrained hatred of anyone
perceived as homosexual at school. Following the demise of his first band The Czars,
Grant left music entirely for over five years, only to achieve greater success as a solo
artist (his acclaimed 2015 solo LP ‘Grey Tickles, Black Pressure’ went Top Five in the
UK). Grant has sold out Royal Albert Hall, performed at Glastonbury, Latitude and more
and his song ‘Snug Snacks’ was featured on Pitchfork’s Songs That Define LGBTQ Pride.
BBC Radio 6 host Mary Anne Hobbs described Grant’s music: “Most songwriting, even if
it’s based on a true story ... is embellished in some way. But John's lyrics - they’re so true
they might as well be written in blood.”

Deluxe 2LP pressed on 140g black vinyl in inner sleeves with paintings by Gil Corral, 2
unique prints, 36-page photo booklet, pull out lyric sheet and digital download card, all
housed in a beautiful black velvet O-Card gatefold sleeve with Glitter Spark Eye.

Produced by long-time friend Cate Le Bon, ‘Boy from Michigan’ is Grant’s most
autobiographical and melodic work to date. Grant stopped being a boy in Michigan aged
twelve, when his family moved to Denver, Colorado, shifting rust to bible belt, a further
vantage point to watch collective dreams unravel. Across 12 tracks, Grant lays out his
past for careful cross-examination.
In a decade of making records by himself, he has playfully experimented with mood,
texture and sound, all the better for actualizing the seriousness of his thoughts. At one
end of his musical rainbow he is the battle-scarred piano-man, at the other a robust
electronic auteur. ‘Boy from Michigan’ seamlessly marries both.
With Le Bon at the helm, Grant pared back his zingers, maximizing the emotional impact
of the melodies. A clarinet forms the bedrock of a song. One pre-chorus feels lifted from
vintage Human League. There is a saxophone solo.
‘Boy from Michigan’ ultimately swings between ambient and progressive, calm and livid.
The album’s narrative journey opens with Grant at his artistic prettiest, three songs drawn
from his pre-Denver life (the Michigan Trilogy, as Grant calls them): the title track, ‘The
Rusty Bull’ and ‘County Fair’. Each draws the listener in to a specific sense of place,
before untangling its significance with a rich cast-list of local characters, often symbolizing
the uncultivated faith of childhood.
Elsewhere, tracks like ‘Mike and Julie’ and ‘The Cruise Room’ offer an affecting plunge
deep into Grant’s late teenage years in Denver, while the midpoint of the album is
highlighted by ‘Best In Me’ and ‘Rhetorical Figure’, a pair of skittish, scholarly dance tunes
that build on the lineage of Grant’s electropop heroes, Devo.
Childhood as a horror narrative is the theme of ‘Dandy Star’, which observes a tiny Grant
watching the Mia Farrow horror movie ‘See No Evil’ on an old family TV set and finally, on
‘The Only Baby’, Grant removes his razor blade from a pocket to cleanly slit the throat of
Trump’s America, authoring a scathing epitaph to an era of acute national exposition.
Though he has lived in Iceland since 2011 - the same year he was also diagnosed HIVpositive - Grant spent his childhood and formative years in the US and maintains US
citizenship. Growing up, Grant was subjected to a deeply ingrained hatred of anyone
perceived as homosexual at school. Following the demise of his first band The Czars,
Grant left music entirely for over five years, only to achieve greater success as a solo
artist (his acclaimed 2015 solo LP ‘Grey Tickles, Black Pressure’ went Top Five in the
UK). Grant has sold out Royal Albert Hall, performed at Glastonbury, Latitude and more
and his song ‘Snug Snacks’ was featured on Pitchfork’s Songs That Define LGBTQ Pride.
BBC Radio 6 host Mary Anne Hobbs described Grant’s music: “Most songwriting, even if
it’s based on a true story ... is embellished in some way. But John's lyrics - they’re so true
they might as well be written in blood.”

Deluxe 2LP pressed on 140g black vinyl in inner sleeves with paintings by Gil Corral, 2
unique prints, 36-page photo booklet, pull out lyric sheet and digital download card, all
housed in a beautiful black velvet O-Card gatefold sleeve with Glitter Spark Eye.

Rose City Band is the solo project of Ripley Johnson (Wooden Shjips, Moon
Duo).
Stepping out from behind the psychedelic haze that envelops his other
output, Rose City Band’s lean yet richly textured arrangements lay bare the
beauty of his songcraft. On ‘Earth Trip’, Johnson reveals more of himself
than ever before, colouring the project’s country-rock twang with a
melancholic, wistful undertone. It charts a journey of personal growth and
introspection with surprising honesty, from pining for summers spent with
friends to meditations on space, stillness and the splendour of the natural
world.
It continues Rose City Band’s celebration of summer warmth and the great
outdoors, seen from a new vantage point and with newfound appreciation for
the freedom and joy that nature provides.
Through its daring honesty and masteful arrangements, ‘Earth Trip’ cements
Johnson’s place as a singular songwriter of inimitable skill. Its message of
mindfulness and our interconnectedness to the environment expands on a
long country and blues music tradition that draws a symbiotic relationship
between storyteller and the land, capturing the beauty of the natural world
while also emphasising our responsibility in preserving it for future
generations.
‘Earth Trip’ features an incredible line up of guests including drummer John
Jeffrey (Moon Duo), Sanae Yamada (Moon Duo) on piano, Ryan Jewell and
Barry Walker on pedal steel guitar.
Mixed by Cooper Crain (Bitchin’ Bajas, Cave) at Electrical Audio and
mastering by Amy Dragon at Telegraph Mastering.
Deluxe mini gatefold CD package.
Forest green coloured vinyl and black vinyl are available in deluxe LP
packaging, die-cut jacket with 4-colour printing on both the outside and inside
of the jacket. Also with fully artworked heavy-weight cardstock printed inner
sleeve and digital download card.
“Ripley Johnson has been responsible for some of the past decade’s most
mesmeric and beguiling albums.” - The Guardian
“Johnson’s Rose City Band incarnation may be his most dazzling and
uplifting so far... transforms the fuzz-drenched thrust of Johnson’s usual
music into a beatific choogle, a modest but potent means of escape from the
realities of 2020” - MOJO

Rose City Band is the solo project of Ripley Johnson (Wooden Shjips, Moon
Duo).
Stepping out from behind the psychedelic haze that envelops his other
output, Rose City Band’s lean yet richly textured arrangements lay bare the
beauty of his songcraft. On ‘Earth Trip’, Johnson reveals more of himself
than ever before, colouring the project’s country-rock twang with a
melancholic, wistful undertone. It charts a journey of personal growth and
introspection with surprising honesty, from pining for summers spent with
friends to meditations on space, stillness and the splendour of the natural
world.
It continues Rose City Band’s celebration of summer warmth and the great
outdoors, seen from a new vantage point and with newfound appreciation for
the freedom and joy that nature provides.
Through its daring honesty and masteful arrangements, ‘Earth Trip’ cements
Johnson’s place as a singular songwriter of inimitable skill. Its message of
mindfulness and our interconnectedness to the environment expands on a
long country and blues music tradition that draws a symbiotic relationship
between storyteller and the land, capturing the beauty of the natural world
while also emphasising our responsibility in preserving it for future
generations.
‘Earth Trip’ features an incredible line up of guests including drummer John
Jeffrey (Moon Duo), Sanae Yamada (Moon Duo) on piano, Ryan Jewell and
Barry Walker on pedal steel guitar.
Mixed by Cooper Crain (Bitchin’ Bajas, Cave) at Electrical Audio and
mastering by Amy Dragon at Telegraph Mastering.
Deluxe mini gatefold CD package.
Forest green coloured vinyl and black vinyl are available in deluxe LP
packaging, die-cut jacket with 4-colour printing on both the outside and inside
of the jacket. Also with fully artworked heavy-weight cardstock printed inner
sleeve and digital download card.
“Ripley Johnson has been responsible for some of the past decade’s most
mesmeric and beguiling albums.” - The Guardian
“Johnson’s Rose City Band incarnation may be his most dazzling and
uplifting so far... transforms the fuzz-drenched thrust of Johnson’s usual
music into a beatific choogle, a modest but potent means of escape from the
realities of 2020” - MOJO

Jack Savoretti will mark the launch of his new album campaign next Thursday, May 6th, 8.30am, when first single ‘Who’s Hurting Who’ featuring Nile Rodgers is released. The single is the first taste of the highly anticipated upcoming new album ‘Europiana’, which is released on June 25th. The new album was recorded at the iconic Abbey Road Studios in London with producers including Cam Blackwood (George Ezra, Florence & The Machine) and Mark Ralph (Jess Glynne, Years & Years) Jack has sold over 550,000 albums in the UK alone and amassed over 65 million streams. He has enjoyed 3 consecutive Top 10 Gold albums in the UK, including No.1 ‘Singing To Strangers’. The album launch will coincide with the announcement of a full UK and Europe tour in Spring 2022. The summer of Europiana is on its way… Jack has been teasing the release of new music on his socials, with clips from studio sessions at Abbey Road Studios.

Drug Store Romeos formed at college in nearby Farnborough when childhood friends Jonny (Gilbert) and Charlie (Henderson) pinned an ad about finding a bassist for their new band to the school’s notice board – Sarah (Downie) replied and quickly proved herself a better vocalist than either of them. The trio spent the subsequent 24 hours discussing their love of Stereolab over messenger and watching Portishead and Mild High Club videos in the college’s computer lab. The band soon cut their teeth playing live at college, at Guildford Boiler Room and Aldershot West End Centre, rather than the familiarly trodden paths in London although they did frequent Brixton Windmill as often as three times a week at one point; carrying all of their equipment back to Fleet by train as none of the band were old enough to drive. The 3am walk home from Fleet station, with amps and flight cases slung over their shoulder, would become a rite of passage; the quiet countryside influencing their hushed atmospheric sound and nocturnal aesthetics as much as their shared affection for Suburban Lawns, Broadcast, and Tom Tom Club. Lyrical abstractness / concrete meaning. Danceability / lyingdownability. Minimalism / fullness. Introspective melancholy / playfulness. Lo fi / hi fi. Drug Store Romeos play with the senses and flip the expectations, finding the sweet spot every time.

The frontwoman of Sugarland, responsible for 30 million records sold, Jennifer has been a country radio staple for over 20 years. She is also an actress having been cast in HBO's The Righteous Gemstones and the 2019 Focus Features film release of the Harriet Tubman Biopic. Jennifer also debuted on Broadway in 2015 as Roxy Hart in the Tony Award winning and record-breaking musical Chicago and she is currently a judge on the TBS reality talent competition Go Big. With multiple Grammys to her credit as well as ACM and CMA awards, she is a music industry institution but what this particular release will prove is her musical proclivities and skills are far wider and more diverse then perhaps previously thought. Jennifer is in fact a brilliant interpreter of songs.

Killing Joke have long been one of rock's most iconic and influential names, with a string of revered recordings to their name. As with all KJ releases, ‘Pylon’ isn’t designed to accompany a quiet night at home; these 10 remastered original tracks plus 8 extra bonus tracks (produced by the band and Tom Dalgety, whose credits include the hugely successful Royal Blood album) are very much music as ritual – raw, uncompromising and precisely-targeted lyrically. While other bands of a certain vintage may struggle to maintain their edge, Killing Joke are delivering the best and most relevant material of their career. Available on CD and 3LP green vinyl.

The first of Sonny’s albums for Impulse!, this 1965 collection caught Rollins at the peak of his creative powers, and is arguably the tenor hero’s best for the label–an intense, freewheeling set, featuring classic takes on ‘On Green Dolphin Street’ and ‘Three Little Words’ in the company of Ray Bryant (piano), Walter Booker (bass) and Mickey Roker (drums). Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

LTD Edition!

Die Grammy-nominierte Band Hiatus Kaiyote veröffentlichen ihr neues Album auf Brainfeeder! Knapp 6 Jahre nach "Choose Your Weapon" (2015) erscheint endlich das brandneue Studioalbum!

Die zweifach Grammy-nominierte Band besteht aus Naomi „Nai Palm“ Saalfield (Gitarre, Gesang), Paul Bender (Bass), Simon Mavin (Keyboards) und Perrin Moss (Schlagzeug). Das neue Album ist der Nachfolger ihres 2015er Albums, „Choose Your Weapon“, das der Rolling Stone als „atemberaubenden Schritt nach oben“ beschrieb und sie von Glastonbury bis zum Fuji Rock führte, vom Roots Picnic bis zur ausverkauften Sydney Opera. Das neue Projekt konnte endlich entstehen, nachdem die Band auf Songs von The Carters (Beyoncé & Jay-Z), Kendrick Lamar, Anderson .Paak, Chance The Rapper oder Drake gesampelt wurde - mit dem Nai Palm aber auch auf seinem Album, „Scorpion“, zusammenarbeitete. Das Ergebnis ist ein Album, das sich, untermalt von Verocais Streichern, in einem Groove entspannt: sonnenbeschienen, erhaben, meisterhaft. Hinter allem steckt Hiatus' gewohnter Sinn für musikalische Abenteuer, ihre Gabe, das Komplexe einfach klingen zu lassen, oder, in ihren eigenen Worten: „Wondercore“. Simons Experiment mit einem ungeraden Rhythmus, der in 5er-Gruppen gepackt ist, wird zu einem kaskadenartigen Jam namens „Rose Water“. Benders und Simons Austausch einzelner Noten, hin und her, um eine Melodie zu bilden, wird zu „All The Words We Don't Say“. Nais frecher Kommentar auf sexbesessene, dreiminütige Pop-Hits wird zu „Chivalry Is Not Dead“, einem Song über die bizarren Paarungsrituale von Leopardenschnecken (sie leuchten fluoreszierend) und Seepferdchen (sie verschränken ihre Schwänze und tanzen). Das Album endet mit dem zarten „Blood And Marrow“, einer Bender-Bassline, zu der Nai und Perrin improvisierten, und die Simon als seinen Lieblingssong anpreist: „Es ist ein klassischer Hiatus-Studio-Song, der eine schöne Erkundung ist und ein Geheimnis bereithält.“

Die Grammy-nominierte Band Hiatus Kaiyote veröffentlichen ihr neues Album auf Brainfeeder! Knapp 6 Jahre nach "Choose Your Weapon" (2015) erscheint endlich das brandneue Studioalbum!

Die zweifach Grammy-nominierte Band besteht aus Naomi „Nai Palm“ Saalfield (Gitarre, Gesang), Paul Bender (Bass), Simon Mavin (Keyboards) und Perrin Moss (Schlagzeug). Das neue Album ist der Nachfolger ihres 2015er Albums, „Choose Your Weapon“, das der Rolling Stone als „atemberaubenden Schritt nach oben“ beschrieb und sie von Glastonbury bis zum Fuji Rock führte, vom Roots Picnic bis zur ausverkauften Sydney Opera. Das neue Projekt konnte endlich entstehen, nachdem die Band auf Songs von The Carters (Beyoncé & Jay-Z), Kendrick Lamar, Anderson .Paak, Chance The Rapper oder Drake gesampelt wurde - mit dem Nai Palm aber auch auf seinem Album, „Scorpion“, zusammenarbeitete. Das Ergebnis ist ein Album, das sich, untermalt von Verocais Streichern, in einem Groove entspannt: sonnenbeschienen, erhaben, meisterhaft. Hinter allem steckt Hiatus' gewohnter Sinn für musikalische Abenteuer, ihre Gabe, das Komplexe einfach klingen zu lassen, oder, in ihren eigenen Worten: „Wondercore“. Simons Experiment mit einem ungeraden Rhythmus, der in 5er-Gruppen gepackt ist, wird zu einem kaskadenartigen Jam namens „Rose Water“. Benders und Simons Austausch einzelner Noten, hin und her, um eine Melodie zu bilden, wird zu „All The Words We Don't Say“. Nais frecher Kommentar auf sexbesessene, dreiminütige Pop-Hits wird zu „Chivalry Is Not Dead“, einem Song über die bizarren Paarungsrituale von Leopardenschnecken (sie leuchten fluoreszierend) und Seepferdchen (sie verschränken ihre Schwänze und tanzen). Das Album endet mit dem zarten „Blood And Marrow“, einer Bender-Bassline, zu der Nai und Perrin improvisierten, und die Simon als seinen Lieblingssong anpreist: „Es ist ein klassischer Hiatus-Studio-Song, der eine schöne Erkundung ist und ein Geheimnis bereithält.“

Gaspard Augé hat schon immer brillant reißerische, musikalische Welten geschaffen, in denen man sich
verlieren kann. Am bekanntesten ist er als eine Hälfte von Justice, dem Duo, das Mitte der 2000er Jahre
Rock und Rave vereinte und dessen Dancefloor-Smashes eine ganze Generation definierten. Sein diesjähriges
Solo-Debütalbum „Escapades“ besiegelt seinen Ruf als Meister des Maximalismus, ein elektronischer Autor,
dessen imaginäre Soundtracks ein erfrischender Ruck aus der Realität sind. Seine köstlich massiven Traumlandschaften beschwört Bilder von progressiven, heidnischen Ritualen im Orbit oder Spaghetti-Western auf
einer Raumstation herauf. Seien wir ehrlich, der Zappa-artige Produzent hatte nie vor, eine introspektive
Platte zu schreiben: „Ich war schon immer davon besessen, überlebensgroße Musik zu machen“, sagt er.
„Vor allem, weil es mehr Spaß macht“.
Das letzte Mal hörten wir von Augé, als er und Xavier De Rosnay von Justice einen Grammy 2019 für ihr
Album ”Woman Worldwide” gewannen, ein Überarbeitungspaket ihres Katalogs aus dem letzten Jahrzehnt.
”Das Tolle an den Grammys ist, dass man im Voraus nicht weiß, ob man gewonnen hat oder nicht, also kam
es völlig überraschend”, sagt Augé. Es war eine verdiente Anerkennung für ihre gemeinsame, bahnbrechende
Arbeit. ”Wir haben uns einfach gefreut und dachten: ’Wir müssen etwas richtig gemacht haben’”, sagt
Augé. ”Und wir dachten: ’Okay, jetzt können wir dieses Kapitel abschließen’.”

Cloudwalker was entirely written and produced between March and November 2020. The album is a welcome return of Martin Haidinger's more notable style after the floating tranquility of the ambient/drone series of albums like Entre Les Chambres and Deux Nouvelles. What's contained within Cloudwalker mirrors its name. Haidinger takes Gimmik on a somewhat weightless journey above the clouds floating between the electronic music he nurtured in the Toytronic years.
These new tracks represent a production concept where Martin saw himself more like a witness of a moving organism than a planning architect. This approach gave the music the space to evolve more freely, like clouds. It broadened the emotional sound pallet of Gimmik's style without denying its heritage. The same philosophy was implemented when choosing the produc- tion tools, representing technology from 1958 to 2019, including field recording and manipulated real instruments.
The emphasis is clearly on songwriting rather than nano edits and ball bearings down stairs beats. The result is clean melodic electronica, bouncy Electro, engaging maternal downtempo, and expertly crafted modular synthesis. Every detail has the technical Haidinger approach with a strong focus on telling a story, leaving a lot of emotional space for the imagination of the listener. Cloudwalker is a confident and warm return to form from an artist that was sorely missed in his time away.

Purple Vinyl

Even if you're well-acquainted with composer and multi-instrumentalist Colin Fisher's richly varied output, his gentle fifth solo album, Refections of the Invisible World may come as a surprise. Psychedelic lyricism has always been a fundamental aspect of his sonic signature, but his second collaboration with producer Jeremy Greenspan (Junior Boys, Jessy Lanza, Morgan Geist) finds the Toronto native luxuriating in expansive atmospherics for its full duration.
That's not to downplay the eclecticism he finds within this ethereal landscape. Each track tills its own discrete sonic acreage, and while every one emanates from a clear focal point, the spontaneous impulse that drives Fisher's more audibly improvisational music always remains close at hand. Some pieces unfold rippling aquatic vistas or delight in prismatic guitar arpeggiation, elsewhere his plaintive, blues- infected tenor saxophone wafts like some strange jazz apparition, or becomes a chorus of cosmic murmurs. The presence of electronics is undeniable, but equally irrefutable is the organic instrumental sources of these disparate hues. In fact he's discovered a rare balance: no matter how effects-saturated, every gesture on the record feels palpably sculpted by Fisher's hands and breath. As such, Refections of the Invisible World carries a sense of intimacy at the heart of its diffuse, dream-like sonics.
Fisher has a been a major presence in Canada's music community for more than twenty years—particularly in more experimental and improvisational circles. Nothing short of a guitar virtuoso, he also wields saxophone, drums, and various other instruments with similarly refined musicality, vivid textural imagination, and sometimes feral abandon. His one-man-band tape Garden of Unknowning for Manchester's Tombed Visions, showcase all of this as he spars with different iterations of himself. The Quietus' cassette critic Tristan Bath extolled it as "miraculous," adding that "it’s a visceral experience soaking up this record, and it’s all down to Fisher’s utterly innate sense of musicality." He subsequently cited it in his 2018 contributor's year-end chart for the Wire.
In 2014 his partnership with Nick Millevoi's trio Many Arms on Suspended Defnition (Tzadik) prompted Spin's Brad Cohan to remark "Many Arms have dug even deeper into math-metal wizardry, bolstering their already imposing lineup with gale-force blowing guest saxophonist Colin Fisher, thus blasting their outré sonic blitz into a fire-breathing free jazz otherworld." Fisher later engaged the band's bassist, Johnny DeBlase, to team up with him and Kid Millions (Oneida, Man Forever) as Monas. As an ongoing collaborator to introspective dance music auteur Caribou, Fisher frst appeared in offshoot project Caribou Vibration Ensemble, and subsequently on acclaimed albums Swim and Suddenly. He's also made two duo albums with celebrated Nova Scotian jaw harp innovator chik white for Dylan and Lisa Nyoukis' Chocolate Monk label. In addition to performing alongside the likes of Jaime Branch, Joe McPhee, William Parker, Laraaji, Gerry Hemmingway, and Fred Frith, he has contributed to recordings by the Constantines (Sub Pop), Bernice (Arts & Crafts), Rhys Chatham (Table of the Elements), Born Ruffans (Warp), Anthony Braxton and AIMToronto Orchestra (Spool), and many more.

Transmeridian is the first album from Departure Lounge (ex-Bella Union) in 19 years. It features all four original members plus a guest appearance from legendary REM guitarist, Peter Buck, one of many long-standing admirers of a band that embodied a lost age of reflective, experimental pop music coming to the fore at the turn of the Millennium alongside The Beta Band, Tunng, Boards Of Canada and Gorky’s Zygotic Mynci.

The surprise new album, named after the defunct ‘golden age of aviation’ cargo airline for which singer/guitarist Tim Keegan’s dad was chief pilot, is released on Violette Records (formed by Michael Head (Shack, The Pale Fountains) and Matt Lockett ) on digital and vinyl formats on Fri 26 March 2021.
Originally scooped up by Simon Raymonde’s Bella Union label (labelmates with John Grant’s Czars) following the self-funded release of their debut album Out Of Here (1999), Departure Lounge’s sophomore outing, Too Late To Die Young (2002) was equally acclaimed and was honoured as the first ever Album Of The Week on the emergent BBC 6 Music. The band toured extensively in the UK, Europe and the US, including outings with The Go-Betweens, Morcheeba, Paul Heaton and Robyn Hitchcock, peers whose stylistic contrasts reflect the eclectic nature of Departure Lounge themselves.

Calling a halt in late 2002, citing family and geographical reasons (drummer Lindsay lives in Nashville, where their second album Jetlag Dreams (2001) was recorded), the four members remained firm friends and occasional collaborators, before reuniting in late 2019 for shows at The Green Door Store, Brighton and The Lexington, London, ostensibly to support the digital reissues of their first three cult-classic albums. With no plans other than to make some new music, the next day they set off for Middle Farm Studios, Devon.
Tim Keegan (vocals/guitar), Chris Anderson (lead guitars/keyboards/bass), Lindsay Jamieson(drums/keyboards) and Jake Kyle (bass/guitar/drums) channelled their evident joy at being back together into a complete 13-track album, largely conceived and recorded in just one 24-hour session in the company of studio owner and co-producer, Peter Miles. Ranging from soulful Americana to piano and mellotron-fuelled melancholia via pastoral musings on the nature of post-youth and eerie Spaghetti Western-tinged instrumentals, the next leg on the Departure Lounge journey is a multi-mood expression of pure artistic freedom.
The ‘leak’ of instrumental track Al Aire Libre (remixed by Parisian groovemeister Kid Loco) in October 2020 gave little away as to what fans could expect from a new Departure Lounge record, the track going gracefully everywhere and nowhere on a whistled Latino breeze. First single proper, Mercury In Retrograde, covered in the twinkling lights of a music box Casio CZ101 melody, turned the clock back - this was an old live favourite that never got past the studio door. Unfinished business brought to a happy conclusion, the single returned Keegan’s honest and distinctive lyrical voice back to British music at just the time listeners needed it.
It was an emotional thread, rather than one musical style, which gave the first three Departure Lounge albums their coherence. The songs told the story of the band. Transmeridian has the same sense of deeply connected musical energy. The purring, campfire acoustica of Timber and So Long bear no obvious resemblance to the ethereal, end-of-the-evening, piano-led interlude Paging Marco Polo, whilst the quasi-glam stomp of Mr Friendly would normally have no business sharing space with the strange, spacey Gurnard Pines (named after an abandoned holiday camp on the Isle Of Wight). Yet the journey’s ebb and flow, accelerations and pauses make for compelling, grown-up listening. Australia, showcasing the chiming Rickenbacker 12-string of Athens, GA’s finest guitar slinger, leaves no doubt that Departure Lounge’s pop sensibilities also remain solidly intact.
These four friends from different musical backgrounds came together originally with the stated aim of ‘creating music to soothe the troubled soul’. Citing their love of (and placing on record their debt to) influences including Robert Wyatt, Nick Drake, Talk Talk, Lou Reed, Arvo Pärt and Cocteau Twins, the band’s diversity of taste is reflected in the music they create.
Transmeridian is only the second full-length LP released by Violette Records, formed by Michael Head (Shack, The Pale Fountains) and Matt Lockett as a platform for Head’s work and developing into a respected independent label as well as multi-disciplinary event organiser, drawing in outsiders working in music, literature, art and design. The label continues to host live events whenever possible and recently initiated an ELP (halfway between and EP and an LP) vinyl series, putting out acclaimed releases by The Pistachio Kid and Studio Electrophonique.

Macro will be out on May 28th on transparent orange vinyl, meticulously mastered by Rafael Anton Irisarri at Black Knoll Studios.
Macro is the sophomore album from Milan-based ambient trio PCM. Francesco Perra, plus Matteo(s) Cantaluppi and Milea, have returned with a shimmering majestic offering that sidesteps their previous album Attraveso's use of drone and more crystal clear classic ambient motifs to display something more texturally visceral.

From the lush widescreen ambient of the title track to the more experimental detail of the album closer Zoom, Macro billows with gratifyingly detailed fibrous ambient punctuated by collaborations with Eraldo Bernocchi and Calibro 35's Massimo Martellotta.

In the beginning, there was just a box of tapes and “Fate’s Gentle Hand.”

It was the autumn of 2010, and an anonymous figure known only as the Head Technician, an employee of Pye Corner Audio Transcription Services (“Magnetically aligning ferrous particles since 1970”), found himself at an auction in the village of Coldred, pop. 110. He was on the hunt for tobacco pipes when he chanced across a trio of boxes listed in the auction catalog, which described their contents only as “archived magnetic recordings.” The sole bidder, he won the lot, and upon receipt of his purchase took possession of an unspecified number of mouldering cassettes and ¼" reel-to-reel tapes. The collection contained no identifying information save for a single phrase scrawled on each box: “Black Mill Sessions.” And so, armed with razors, eyedroppers, and a bevy of solid-state circuitry, the Head Technician sat down at his machines and got to work.

Whether anyone believed it or not, this was the framing device surrounding Pye Corner Audio’s Black Mill Tapes Volume I: Avant Shards, which took the mysterious tactics of artists like Boards of Canada and Burial and raised them exponentially. Much like the narrator of a 19th century novel, the anonymous Head Technician purported merely to be the messenger of secondhand sounds. These were not compositions, we were told; they were tape transfers—“transcriptions” of an unknown author, slathered

Strut present the definitive edition of Sun Ra's classic 'Lanquidity' album from 1978 with brand new 4LP box set and 2CD editions. Recorded overnight at Bob Bank's Blank Tapes on 17th July 1978 after the Arkestra had appeared on Saturday Night Live, the album is unique in the Ra catalogue. "Most critics felt that it was more of a fusion-inspired record," explains Michael Ray."As the name suggests, the album is liquid and languid." Bob Blank continues,"Musically, it was very ad hoc and freeform. There were horn charts but most trackscame out of improvised jams. Sun Ra just did his thing." Comprising five effortlessly fluid pieces, the album eases in with Lanquidity. Danny Ray Thompson remembers, "This was one of Sun Ra's on-the-spot compositions. It is almost like an Ancient Egyptian Stargazing Ceremony, mapping out the stars and the planets." Where Pathways Meet is "Sun Ra's funky version of an Egyptianmarch. Pharaoh is sending his troops off to fight and this is his pep-talk!" continues Thompson. "The music seems to take different pathways but still converges." The loping groove of That's How I Feel, features the reflective trumpet lines of Eddie Galewith solos by John Gilmore and Marshall Allen: "Marshall comes in with that snake charming oboe." Says Thompson. The funky Twin Stars Of Thence weaves around Richard Williams celebrated elastic bassline while the haunting closer, There Are Other Worlds (They Have Not Told You Of), is pure "space music." The poet Mama Nzinga described it as 'The essence of light. Spirit takes a ride inside the deep darkspace of just being."

Rave sound of a kind..; old school with a thick texture, total brutal style !

Sasha introduces LUZoSCURA, a new compilation that hasevolved from the thriving eponymous playlist. Featuring adiverse package of original works from a host of fresh talent, aswell as established artists and Sasha himself, it traverse selectronica, ambient, breaks and techno. Meaning light and dark, LUZoSCURA began on Spotify as a stash of tracks sent to Sasha which didn't meet the pace of his clubsets nor suit his venerated label LNOE, LUZoSCURA came into itsown through 2020 as Sasha gravitated toward more mellowed sounds while being off the road, and clubbers diverted their ears to home listening. Gaining a renewed source of energy inconnecting with more gifted, budding producers and seeing the project blossom, the idea for the compilation came off the back of doing a live stream solely featuring tracks from the playlist. Meticulously compiled to flow like a DJ mix for home listening, Sasha kicks it off with the buoyant, breaks-influenced 'Corner Shop', the first of his three tracks on the compilation. MJ Cole is among the established artists to feature with blissed out track 'Maestro', while The Micronaut, a multi-instrumentalist whose back catalogue was a favourite of Sasha's through lockdown, offers an immersive trip in 'Koelsa'. Lau.ra, lead singer from British experimental rock band Ultraísta, evokes a sense of spiritedness in 'I'll Wait' before we hear again from Sasha with another breaks-loaded trip in 'HNDI' and a collaboration withB ritish producer Franky Wah. Closing the odyssey with a stirring, expansive soundscape is synth duo Felsmann + Tiley.

Perila (Aleksandra Zakharenko) left her native Russia six years ago, landing in Berlin. Finding her place almost immediately - first at Berlin Community Radio and through that amongst a group of like-minded creative individuals (including her current flatmates Special Guest DJ and exael) - she started a regular practice of working on an expressionistic "sonic diary" of field recordings and electronic sound research for her own pleasure. When the opportunity arose to create her own podcast series, WET (or Weird Erotic Tension) was born. Upon hearing her evocative and atmospheric music layered with friends Nat Marcus and Inger Wold Lund's erotic spoken word poetry, Sferic Records asked to release it, and Perila - a project name originally used for her BCR show - truly came to be. Aleksandra, who was raised in St. Petersburg, has been involved in music since childhood thanks to her melomaniac father. She's been both drummer and singer in local bands in Russia, and is also the co-founder of radio.syg.ma - one of the first online stations in Russian focusing on experimental sounds - but Perila is something else entirely. You could loosely describe it as ambient, but her soundworld is so specific and transportative, filled with detail and movement, it's more akin to hauntological musique concrète, touched by song. Her fascination with voice and language - she studied English literature at university - is still evident, although that's now her voice, her texts, her crooning you can hear on the Everything Is Already There cassette (Boomkat Editions, 2020), her processed breaths on the Meta Door L cassette (Paralaxe Editions, 2020). The Wire Magazine got it right when they said about Irer Dent that, "Sensuality is presented as a secret pass to a higher consciousness." For her debut album, How Much Time it is Between You and Me?, released via Smalltown Supersound on June 11th, Aleksandra takes inspiration from the concept of time, which she felt keenly during the pandemic. Recorded primarily in September 2020 in a rural village in France - her only travel during the first year of the pandemic period - surrounded by mountains but otherwise alone with no internet, her perception of time there differed immensely. She describes the trip as, "an immersive experience into self," viewed through a "silence prism" where everyday sounds usually ignored felt amplified. While her work has always dealt in intimacy - be it the private thrills of WET or the audible closeness of our surroundings - the organic response and consistent feedback she gets for Perila made Aleksandra recognize a longing, a need for it in today's world. Intent on creating work based in honesty and tenderness, Perila's practice also explores how we feel music and emotion throughout the body and how sound can help to release it. How does the sound enter a body and travel through it? Where does movement start? How do you reach and unblock emotional clusters with the help of sound and deep listening of the body responses? Aleksandra likes to describe her music and performances as trips - thick narratives drifting along sound to get closer to self. Let Perila guide you through this journey.

In March 2020, right as the whole world was entering into a transitional phase, Evidence released a single titled "Unlearning". Now, a year later, Evidence launches the campaign for his upcoming album, Unlearning Vol. 1, picking up where the single of the same name left off, and going beyond. Throughout his career, Evidence has always been adept at both staying true to his roots and evolving as he grows and learns from life experiences, including recognizing when the time comes to unlearn. During the campaign for his last album, Weather or Not (2018), he expressed a desire to close the chapter on the weather-related theme that had been a staple of his solo career to that point. Unlearning Vol. 1 not only sees that vision come to life, but shines brilliantly in the process. Unlearning Vol. 1 pairs Evidence's own production with works from The Alchemist, Nottz, Sebb Bash, Animoss, Mr. Green, V Don, Daringer and EARDRUM (QThree). This highlights perhaps an undervalued skill of Ev's - his ability to collaborate with a multitude of producers on a project, while still creating an album with a cohesion and consistency rarely found in such extensive collaboration. While the album's musical soundscape sets the scene, it's Ev's gift for relatable yet inventively clever writing that really paints the picture, continually pulling the listener in. That said, a small but powerful cast of guest appearances also decorate the landscape, courtesy of stellar performances from Boldy James, Conway The Machine, Fly Anakin, Navy Blue, and Murkage Dave. Unlearning Vol. 1 embodies the sound and feeling of pure artistic expression, capturing a moment in time where marketability, album sales & streaming potential, and the desire to please anyone other than the artist themselves, are all just an afterthought. As one could expect, such freedoms allowed Evidence to tap into something special that sounds engaging and unique, and also remains true to his foundation. In essence, Unlearning Vol. 1 finds Evidence at yet another creative peak, creating a listening experience poised to catch the attention of new listeners while strengthening his core fanbase.

Soul Jazz Records new 'Two Synths, A Guitar (and) A Drum Machine' is a new collection of current D-I-Y post-punk bands shaped by the mutant sounds of no wave, punk funk and New York Noise bands from the late 70s and early 80s that collided with the world of underground dance music found at the Paradise Garage, Mudd Club in New York City (ESG, Arthur Russell, Bush Tetras, Talking Heads, Suicide, Liquid Liquid). Other influences cited here include Manchester and Sheffield's industrial post-punk sounds of the 1980s (Joy Division, Cabaret Voltaire, Gang of Four) as well as the 1970s German electronic experimentalism of Cluster, Neu!, Harmonia and Can. Featured artists from around the globe include Los Angeles D-I-Y band Automatic, New Fries from Toronto, artist/music collaborators Toresch from Germany, Susumu Makai from Japan/UK, VexRuffin from the Philippines/California and Madmadmad, Gramme, Tom of England and other UK groups. That all the bands featured here manage to make distinctive contemporary music out of these 80s roots is testament to the wide range of other musics that are seamlessly absorbed into a modern melting pot of sound - hip-hop, the electronic European avant-garde, rave culture, and more.

Soul Jazz Records' new Studio One release Rocksteady Got Soul is a collection of uplifting and superb rocksteady and soulful reggae from the late 1960s and early 1970s. Studio One is the number one label in the history of reggae and he album features - as ever with Studio One - an impeccable and unbeatable line-up of reggae superstars, all soaring at the height of their creative powers. Alton Ellis, John Holt, The Heptones, Jackie Mittoo, The Ethiopians, Lee Perry and more. The album is a mix of classic tunes and rhythms alongside super-rarities that were released in a dazzlingly complex web of Studio One labels and issues, deftly navigated with new sleevenotes from author and Studio One authority Rob Chapman. But enough with the chatter, just spin the platter - these tunes rule the town, hands down! This Soul Jazz/Studio One album is released as deluxe gatefold double-vinyl + house inners + download code. Also as jewel case CD housed in card slipcase. Both formats come with full sleeve notes/discography and exclusive photography.

6 bloody acid techno tunes... Some electro, some hard and some hardhouse.
Melting of classics and visionars sounds.

After more than a decade at the forefront of the global club music scene withseveral celebrated albums and EPs under their belt, Peruvian duo DengueDengue Dengue's seminal 2014 Enchufada EP 'Serpiente Dorada' is still oneof the most impactful of their exciting career. Capturing the vitality of theirearly genre-defining work, where the traditional and hypnotic rhythms ofcumbia were modernised through a collage of electronic music styles,'Serpiente Dorada' is still at the top of their most played music on streamingplatforms to this day, and has motivated their fanbase to continuouslydemand a physical edition since its initial digital release. The wait is finallyover as in 2021, just as the band completed 10 years of activity, we arepressing a beautiful 12'' vinyl edition in black and gold colours, freshlyremastered for vinyl to give this essential release the quality it deserves. 'Serpiente Dorada' remains an absolutely infectious and colourful mixture ofglobal sounds, where genres and styles are used as a starting point on theirongoing hybrid exploration of the interaction between traditional LatinAmerican music and modern electronic music, where the total is much morethan the sum of its parts.

A new label, full acid !
With a first tside by BUK rack in the Violent Cases style, defgenitly shouting and exciting followed by a mental stabilisator radiation.

The flip opens with a mental tribe tune turning chanting & shiny from Acudup.

Neurorbital finishes the job with a deep mental tribe tune hidding industrial ambiances... Forest music.

Master by IND, cover by Distorganic

Cult UK producer Iglew returns with his highly anticipated sophomore record after a six year hiatus, finding a perfect home on Facta and K-LONE’s label, Wisdom Teeth. Iglew first burst through during the instrumental grime boom of the mid-‘10s, debuting on Mr Mitch’s Gobstopper imprint with the now-verified classic ‘Urban Myth’ EP. A run of massive edits, remixes, radio rips, plus a feature on legendary label Boxed followed - andthen he went into hiding. Six years on, his follow-up EP expands and consolidates his sound into something truly unique and distinct. His central talents - glacial synth work, timeless melodies, pristine sound design - are all on show here in abundance, but twisted to fit new, refreshed patterns and structures.

‘Caffeine Dream’ is mutant UK techno that offsets distorted bass and glitching synths against warm chords and a noodling melody. ‘Gold’ is cool and stepping, sitting somewhere between early Night Slugs and the refracteddeep house of DJ Python. Title track ‘Light Armour’ is the EP’s understated climax - a lowlit and psychedelic take on modern pop, sounding something like a Charli XCX record A&R’d by the Freerotation crew. To close, ‘Microfunk Lament’ and ‘Hakwsworth Woods’ lean into microhouse and Reich-school minimalism, putting Iglew’s immense knack for melody and soul on full display.

RAWAX got a new baby called ELECTROWAX!
We love the genre and now it became an own platform! Starting with Kirill Junolainen aka Konerytmi from Saint Petersburg. And as it's the first release, we celebrate it with 6 tracks!
More music for you :)

“South Africa’s lost jazz history contains many an overlooked classic. But even within that hidden tradition, there are few albums that suffered such an unlucky fate as Spring, the monumental 1968 debut album by pianist Ibrahim Khalil Shihab, formerly Chris Schilder.

Though Shihab was only twenty-two when Spring was recorded, he was already a lynchpin of the Cape Town scene, and the album was to be his first major statement as leader and composer. It is a magnum opus gilded by the presence of the upcoming saxophonist Winston ‘Mankunku’ Ngozi, who was soon to find huge acclaim with the hit album Yakhal’ Inkomo.

Three months of touring southern Africa in 1968 honed the band to the point that this entire album was recorded within the just two hours of allocated studio time. This album was repressed just once before the master tapes were destroyed by an ignorant record company executive. While it has remained out of print since then, the album was ‘kept alive’ as an ‘add-on’ to a 1996 CD of Mankunku’s Yakhal’ Inkomo. As a result, many modern jazz lovers still incorrectly believe these five compositions come from Yakhal’ Inkomo.

With this edition of Spring, Matsuli Music corrects an historic wrong. This edition of Shihab’s stunning debut, produced with the blessing of the man himself, is the first time it has been properly available in over forty years, and the first time it has ever been available outside South Africa. Restored and presented with new liner notes by Valmont Layne, Spring can now be seen for what it is: a peerless masterwork of Cape Jazz, blessed by the presence of the great Mankunku, but truly animated by the subtle vision and original musical spirit of its creator, Ibrahim Khalil Shihab.”


• The monumental 1968 debut album by pianist Ibrahim Khalil Shihab, formerly Chris Schilder.

• Almost lost recording is back on vinyl after more than 50 years.

• Heavyweight 180g vinyl with remastered audio, inner sleeve with photographs and new notes by Valmont Layne

Includes Download Code and Special Insert Drawing !
Quindi Records continues to yield intriguing prospects as we reach the third edition, moving from Woo's astral ruminations via Cabaret Du Ciel's sonorous meditations on to the dusty, dusky mantras of Dead Bandit. Maintaining the ambiguous creative practices of the label's previous releases, From The Basement r eaches to the earth for the malleable grit of post-rock while making the most of the broader sonic outlooks afforded by kosmische and electronic effects processes.
Dead Bandit are Chicagoan songwriter Ellis Swan and Canadian multi-instrumentalist James Schimpl. Swan has previously released solo works including the stunning, inward-looking album I'll Be Around, a lo-fi Southern gothic dragging the husk of country ballads through battered signal chains. In Dead Bandit, Swan and Schimpl's artistic vision casts its gaze outwards on a vast expanse, where the distortion has space to stretch its legs and the drums pound out into open space. There's a common tonality at work here, the duos guitars telling a thousand hard-bitten tales where Swan's voice falls silent. It's no surprise to learn Swan and Schimpl's reference points include Neil Young's Dead Man soundtrack, SF noise rockers Chrome and the imperial work of the late, great Mark Sandman of Morphine.
You can sense Jim Jarmusch's America just lingering behind the road-weary thrum of 'These Clouds' and detect the shadow of Tom Waits lurking in the raunchy lurch of 'FF M'. The pointedly titled 'Sedated' calls to mind the slowcore movement and its rejection of rock n' roll's fixation on speed. Instead, tonality and atmosphere are key across From The Basement , although the ambient lull of 'I See Her There' is the exception rather than the rule. Dead Bandit's desert sound has vibrancy and immediacy to match its moodiness, from the sultry swagger of opening track 'Mud' to the bold and borderline bombastic 'When I Looked Around'.
Like the previous Quindi releases, this record is inherently experimental in nature, but not at the expense of its warmth and instant appeal. From the basement, an inquisitive pair with primitive tools look out and imagine a colossal plain as the canvas on which to paint their picture

It’s testament to the man they call Medlar, that you never quite know what you might get with one of his releases. WOLF Music family since the early days, his latest mini-LP on the label is no exception. Seven cuts that prove this man can do anything, taking you on an otherworldly, island tour.

First stop, ‘Aerial’, channelling that inner Wally Badarou for a cosmic, sand-stomping chuggathon, heavy on the juiced-up basslines, tripped out synth wizardry and space delay goodness. Your pace quickens, ‘Iguanadon’ rattles the world around you, shamanic echoes swirling through your skull as that acidic stab hypnotises you into a stupor.

Out the other side, you stumble across an ‘Elephant Bingo’. Cup of tea, track three. Slap bass, bongos and synth stabs lifting the spirits.

Back on the beach you drift off into a slice of sleazed up Balearic business, turning the funk dial all the way up to 11 via ‘ELV’. Suddenly things take a trippier turn. Are you dreaming? ‘CR78-108’ booms in the background, pure jungle-tinged, digi dubwise movements.

A few stiff drinks and you’re on your feet again. ‘Phoenix Lights’ New York house stylings pump you with life, even if your hazy brain is still hearing wild echoes all over the place.

How did you end up here, 10 hours later? One too many ‘Sin Prisa’ homebrews no doubt, yet you’re still stompin through, granted it’s of the slow-mo, acid-laced variety though.

What was in that welcome drink Medlar handed you at the start? Who knows, who cares when you get that kinda bang for your buck.

Tracks by T-Error, MagikBitum, Digitizer, Kind Human Being, Kitbuilders, DVS NME and Noise and Noise. The Time Capsule project, also known as 808 Box, is a project created by Fundamental Records. The six boxes released in recent years include 56 records with over 300 tracks from artists from every corner of the world. Some warehouse copies have surfaced of the 10th Anniversary 808 Box, and these will be available individually. These are new copies in perfect condition, with the original sleeves printed with the images of the classic Roland TR-808.

Papiro’s approach to music is never technical, but always personal. Since the mid-Nineties, he has released a handful of noteworthy albums, each carefully put together and seemingly self- contained, yet all sharing an unmistakable musical language and a certain escapist aura.

La finestra dentata (The Toothed Window), is no exception. It includes both studio and concert recordings from 2016–2020. The sounds on this album appear infinite and full of marvels, ingenious in portraying imaginary creatures and environments.

The title track and Anelli take up most of the first side and include live outtakes. Papiro likes to describe his performances as therapeutic. These swirly symphonies are specifically intended as immersive deep-listening experiences for concert venues, and have been edited for this album to meet the physical demands of vinyl and domestic use. Imagine the younger cousins of Laurie Spiegel’s Concerto Generator performance, or Terry Riley’s Shri Camel.

However, those who know Papiro only from the stage might be unaware of a different side to his oeuvre; starry-eyed miniatures that may appear frivolous in comparison to the more heady stuff, but are nonetheless well worth discovering. Each piece adds a chapter to a phantasmagoric world populated by such characters as "Giant Duckling", "King Hard-Beard", or the "Bodulator". Tracks like the opener Odilon or Il triciclo nascosto, meanwhile, emanate a candor rarely found in the domain of serious music, and revisit Papiro’s early days of instrumental storytelling.

About Papiro:

Marco Papiro is a Swiss-Italian musician, composer and graphic designer. He teaches at the Schule für Gestaltung in Basel and is known for the posters and album covers that he's created for a number of prolific artists (Sun Araw, Sonic Boom, Panda Bear, Oren Ambarchi)