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For many bands, having all their gear stolen would be catastrophic. For Third Ear Band, this unfortunate 1968 incident opened a portal to beneficial change. Leader/percussionist Glen Sweeney viewed the heist as a sign to alter Third Ear Band's approach, and they switched to exclusively using acoustic instruments. With electrified psychedelia in full bloom, Sweeney, Paul Minns (oboe, recorder, whistles, flutes) and Richard Coff (violin, viola) struck out on an individualistic path, blending Indian raga with chamber music – without plugging in.

Third Ear Band's 1969 debut album, Alchemy, established them as a solemn, powerful force in the global underground. On Alchemy, Sweeney laid down a steady pulse on hand drums, while Minns and Coff wove in melismatic patterns on oboe, recorder, violin and viola. This approach carried over to Third Ear Band's self-titled sophomore album, often called Elements due to its track titles being named after the four basic components of medieval European alchemists' doctrines.

On this 1970 LP, Third Ear Band sounded at once ancient and contemporary, yet they turned on the hippies with their epic, trance-inducing jams that suggested secret knowledge of infinity. Although Third Ear Band flourished during the West's countercultural zenith, they were peculiarly estranged from it on a sonic level. Even outré contemporaries such as Comus and Jan Dukes De Grey sounded like pop groups compared to TEB. Having no traditional front person or electric instruments, Third Ear Band forged a singular path that flowered most vividly on Elements.

The long songs here stream forth from their skilled hands, evoking a communal transcendence in sound – a hypnotic swirl that doesn't swing, but rather wafts and undulates with cloistered beauty. TEB's music exists in an eternal now, a perpetual wow. It is an ouroboros of organic textures, seemingly magicked into the air spontaneously, yet possessing a rigor that suggests long hours in the lab. Without electricity, it somehow burrowed deeper into your consciousness.

– Dave Segal (excerpt from the liner notes)

Blaney describes A Room With A Door That Closes as “a love letter to her blue,” an emotional state that she defines as “a kinetic, intense, and dark energy that needs to be expressed as soon as it is felt.” The eleven songs on the album span radioactive kiss offs, sorrowful meditations on yearning, and gossamer reveries about self image.

The music has a fittingly tumultuous, intricate sound: 1960s soul samples melt into warm drum n bass percussion, blips of glitch ping pong against grating synth, and Blaney’s vocals range from searing punk exclamations to gentle, exploratory croons. It’s the sound of a singer peering deeply within herself and presenting the world with everything she finds, unadulterated, in real time. Blaney produced the new project along with a tight team of three producers: Emerson Fossett, Harlan Steed (Show Me The Body), and Alex Farrar (MJ Lenderman, Wednesday, Squirrel Flower, Snail Mail).

Blaney had just started playing guitar and producing around the time she began writing the songs that would become the album. Being new to both producing and guitar playing opened up a sense of exploration and freedom for her. She felt emboldened to employ more adventurous riffs and unconventional song arrangements when she was writing. A Room With A Door That Closes is a collection of songs that rigorously pursue honesty, that present feelings as they arise without rushing to categorise them or explain them away. In the process of understanding her rage or discomfort, Blaney often lands on a sense of pride and assurance, but that’s never the ultimate goal. She eschews the easy comfort of neat resolution for the excitement of ongoing discovery. The album is an exercise in unfiltered self-expression, and a celebration of life at its messiest.

Tal Fussman returns to Rekids with the ‘I Feel’ EP. Rekids welcomes back Tal Fussman with the ‘I Feel’ EP, following up his 2024 ‘Definition’ EP on Radio Slave’s label, which won support from the likes of Honey Dijon, Orlando Voorn, Yu Su, Saoirse, Dave Clarke, and more. The Innvervisions, COD3QR artist and Survival Tactics label boss starts ‘I Feel’ with the title track and, in true Fussman fashion, infuses drummy club cuts with plenty of feeling via soulful synths and apt vocal sampling. The rolling organic percussion of ‘MAD’ continues, locking us in the groove while hard-hitting stabs fly above before ‘Bongo Man’ channels the lush sounds of the rainforest alongside more expert drum work. Closing out the ‘I Feel’ EP, Tal Fussman works with fellow producer 8-AN to drop the dream-like strings of ‘Life Itself’, another deep track that is as club-ready as it is introspective.

Words from the label:

Having made its mark with a strong debut outing by Jon E, Natural Element returns with a 12” single from the seasoned and versatile Amsterdam producer Kid Sublime. With previous releases on Kindred Spirits, Jazzy Sport and Co-Op, to name a few, this release serves as a little taster to an exciting full-length project to follow in the coming months. The featured track ‘You Got Me Runnin’ is a blissful piece of uptempo soul delivered straight from the heart, with a warm, infectious bounce and synths that cut deep. Georgian/American singer-songwriter Bako features on vocals with a smooth and subtle delivery that adds an extra layer of beauty, alongside Kid himself on the chorus.

The EP sees remixes from West London’s WheelUP, who has been steadily making his unique mark on the broken beat scene for the past few years, and fellow Amsterdam producer on the rise, Mo Wrights, who takes the energy up a notch delivering a raw and captivating arrangement for the dancefloor.

LTD. CLEAR BLUE VINYL

New York painter and musician exploratory industrialist Tor Lundvall initially envisioned his 14th album, Beautiful Illusions, as an entirely instrumental affair, "inspired by memories of sitting in a church or cathedral watching the shifting sunlight through stained glass." Although he ultimately chose to wreath the majority of the tracks with hushed, poetic vocals, his original muse still resonates. These are certainly songs of shadowplay and vaulted skies, the quiet grandeur of dusk deepening on the horizon. Lundvall characterizes the lyrical subject matter, too, in ways both specific and surreal, exploring "the doubts, the anxieties and even the bleak fantasies the mind spirals into during moments of isolation, separation and distance." Tricks of the eye, mind, and ear, magnified by silence and the looming long winter. Shivering pulses and muted bass lines tread the twilight while icicle synths and wiry guitar map the melody until the voice enters, narrating oblique moods of essence and absence, tenderness and truth. Glimpses of dark humor flicker in the wordplay but the greater sonic landscape is one of falling leaves and failing light, small gestures rendered as revelation, cloaked in reverb and spatial fog. Lundvall's mastery of nuance and negative space continues to heighten, whispered brushstrokes of the invisible and the unsaid, what lies beneath and what lies beyond: "Behind the shields and false fronts is usually a sadness. The heartbreaking reflections of what might have been."

As they landed from their extended hovering adventure – a journey en(capsule)ated by twists, turns and various chops – the Fast At Work crew found themselves drawn to the idea of a new, singular sonic flow. Always on a noble mission for a future-forward vision of higher-deeper tempos, the crew realized that often the most meaningful iterations of their gospel can be found in the most inconspicuous places – “not even noticed,” some might say. Within these subtle crevices, a rising duo emerged to carry this torch (disc) forward into new, uncharted realms. Taking inspiration from “Eteus,” the god of light and knowledge, this duo expertly crafted four original offerings, all with a distinctive, minimalistic fusion of breaky, hopeful expansion. While the title contribution echoes a sermon of oozing bassline flows and siren signals, “Drip Advise” equally mesmerizes with its spiraling melodies and strong percussive foundation. On the disc’s flip, the anointed duo broadened and refined their journey via the acid-tinged bedrock of “Creamavity,” while the final offering “Anxious” ironically synthesized the full pilgrimage into a polished musical (and vocal) definition – “release yourself, into the unknown.” With the hope of sharing this glistening gospel far and wide, the mystical duo prescribed a set of two reshapes from enlightened phonic gurus in their own right. While Wisdom Teeth’s K-Lone opted for the always reliable essence of strong foundational grooves and deep airy textures, Maara (founder of the newly formed Ancient Records) crafted an oceanic odyssey – over 10 minutes of timeworn atmospherics and sensorial sensibilities.

Oath’s latest release features renowned producer Kreggo, founder of Art-Aud and Secret Rave, known for his genre-defying sound and deeply atmospheric productions. Active since 2014, Kreggo’s music spans IDM, Acid, Breaks, Bass, and Techno, continually evolving with each release. His label Art-Aud is celebrated for its forward-thinking output. His new EP ‘Altro Mood’ includes three original tracks and a remix by Gilb’R, blending energetic rhythms with rich, emotive layers. Tracks like ‘Sensor’, ‘Labi Inside’, and ‘Obabi’ explore intricate sonic textures, while ‘Taylor Bottle’ and Gilb’R’s remix add further depth. The EP showcases Kreggo’s signature warmth, innovation, and ever-expanding sonic world.

NRV008 delivers two immersive tracks from Za__Paradigma, elevated by a standout remix from Romania’s minimal maestro, Cezar Lazar.

Za__Paradigma’s "Pianeta Extrasolare" opens with hypnotic rhythms and lush textures, ideal for intimate dancefloors. "Senza di te" follows with minimalistic grooves and a compelling, building energy.

Cezar Lazar’s remix of "Pianeta Extrasolare" is an 11-minute journey, blending intricate rhythms with subtle orchestral undertones, showcasing his visionary mastery.

A must-have for minimal, deep tech, and electronic audiophiles.

Welcome to a whole new stage from Akasha Records, introducing the label into the analog world.

To begin with, Delazar brings us three delightful dancefloor dishes together with an ambient mix from the timeless gem "Memory Access", released in the first Akasha's digital appearance.

Monkey Slayer, this new EP, brings us so much flavour with acid touch, funny percussive bounces and synth sounds. A1 brings the perfect mood. It's remix version from master Deep Mariano takes us to an intense and happy trip, so that alter on, "Reincarnation" makes us close the stadium. "After" well... You already know when to play this one. And to come back to Earth at some point, as dessert, you can delight with an ambient masterpiece.

No one can help you build something beautiful quite like those who know you best. Alan Sparhawk knows this well. In his years in Low, he built decades of stirring music with his wife and lifelong creative partner Mimi Parker. In recent years, he has performed around Minnesota with his son Cyrus in DERECHO Rhythm Section, a funk band that also frequently features his daughter Hollis on vocals. There's an irreplaceable naturalism that comes with this kind of dynamic. Those who know you understand you. They love you. They want to help you bring your greatest passions to fruition. So it made sense that Sparhawk would turn to fellow Duluth musicians Trampled by Turtles to realize his latest record. As friends and mentees of Low's, taken under Sparhawk and Parker's wing from their earliest days as a bar band, Trampled by Turtles have performed with Sparhawk countless times over the years. The Duluth ties run deep: "There's a certain vibe that has to do with underdog syndrome, coming from a small town," Sparhawk muses. "Some of it is the weird grind and slackness that being at the mercy of Mother Nature puts in you. It humbles you." The two artists hold the kind of ironclad bond. Following Parker's passing in 2022, Trampled by Turtles invited Sparhawk to join them on tour to give him a space to be surrounded by friends. Occasionally, he would join them onstage. The outpouring of love was palpable every time they played together, a surge of warmth. When playing together is that powerful, why stop there? In winter, 2024, Sparhawk and Trampled by Turtles created With Trampled by Turtles, a record exactly as its name implies: Collective. Communal. Fraternal. Empathetic. A vessel for comfort, a reminder of the harmony that can exist when surrounded by those closest to you. Where White Roses, My God, Sparhawk's last album, plunged headfirst into electronica and radical vocal modulation, With Trampled by Turtles leans into the folk and bluegrass stylings of its backing band, Sparhawk's voice now completely unvarnished. With Trampled by Turtles is far more than just Alan Sparhawk and Trampled by Turtles. It's an affirmation of all the people who have been vital in Sparhawk's life and music, and an opportunity to hold each of their gifts into the light. It's producer Nat Harvie, who has been collaborating and performing with him for years. It's Sparhawk's daughter Hollis, who duets with her father on "Not Broken." And it's Mimi Parker, too: "Too High," "Princess Road Surgery," and "Not Broken" were all tracks she and Sparhawk had been working on in the last few years. These songs finally found a setting that stirringly commemorates them, bolstered by a full ensemble to make every note sing. Their presence is a kind of eternal connection to Parker, a way her musical grace will keep flourishing.

Brazilian Psychedelic Rock Artist Firefriend via Cardinal Fuzz and Little Cloud Records announce a first time vinyl pressing for the classic - “999 to 666 ts Street” Prepare to take the long way through the void — Brazilian sonic architects Firefriend present the searing “999 to 666 TS Street”, a full-length LP that bends time, bleeds color, and dives deeper into the cracked corridors of psychedelic rock. With roots tangled deep in the underground of São Paulo and their eyes forever fixed on the cosmic unknown, Firefriend has carved out a space uniquely their own — a distorted dreamscape where shoegaze meets fuzz, noise folds into melody, and every track is a doorway. “999 to 666 TS Street” is a concept record that navigates a haunted psychogeography: an address etched between realities, where spiritual unrest collides with dystopian daydreams.

A Journey Through Sound and Shadow Drenched in fuzzed-out guitars, whispered vocals, analog synths, and pulsing rhythms, this LP sees the trio — Yury Hermuche (guitar/vocals), Julia Grassetti (bass/vocals), and Cacau Bandeira (drums) — begin to forge the fearless vision they seek. From the opening surge to the final fractured lullaby, “999 to 666 TS Street” is both a destination and a transmission: a call to the wanderers, the outsiders, and the seekers. But Firefriend's mission isn’t just sonic — it’s political.

As proudly left-wing artists with an internationalist vision, the band channels the disillusionment and resistance of a generation watching the world teeter. Their music radiates both critique and hope, connecting the dystopia of late capitalism with a dream of liberation. Whether playing São Paulo basements or European festivals, Firefriend brings an urgent message beneath the haze: solidarity is louder than silence. "This album is a street you can't find on any map — it's the place your mind goes when you turn the lights off," says frontman Yury Hermuche. "It's noise, beauty, and a little bit of danger." "We wanted to build a record that feels like a fever dream on vinyl," adds bassist Julia Grassetti. "Something physical, something that glows in the dark." About Firefriend Known for their hypnotic live shows and cult international following, Firefriend has shared stages with underground legends and graced the grooves of multiple celebrated independent releases.

They’ve become essential listening for fans of Spacemen 3, The Brian Jonestown Massacre, and The Velvet Underground — yet remain wholly, defiantly themselves. “999 to 666 TS Street” marks the start and is another milestone in their prolific catalog, pushing the limits of psychedelic rock while remaining anchored in the beautifully bleak emotionalism that defines their sound. Beneath the distortion lies a worldview — anti-authoritarian, borderless, and defiantly alive.

Kevin Fingier returns with a brand new 7” single on his own Acid Jazz imprint Fingier Records. Known for his explosive Latin sound and classic-style production, Kevin has released a string of sell-out soul 45s, a world music vinyl series, and an album and LP respectively.

Here Kevin returns to his Jamaican-influenced roots. He formerly led Acid Jazz-signed reggae band Los Aggrotones and has produced tracks for reggae legends Derick Harriott, Pat Kelly and The Cimarons. Now for the first time this distinct flavour hits wax on the Fingier label.

This release presents a unique, driving Ska-tinged take on Mod/R&B classic ‘Comin’ Home Baby’, paired with a Fingier original, the deeply authentic Trojan-styled ‘Leaving Samsara’ on a limited edition 7” vinyl single.

Presented in the Fingier Records graphic housebag, the perfect addition to the summer DJ box.

Mikro Records proudly marks its debut with a finely crafted 12" release that highlights the label’s commitment to deep, minimal-dub techno. Based between Prague and Berlin, Mikro steps onto the scene with a confident and sophisticated first offering. The EP features three distinct tracks from acclaimed talented producer Gathaspar, whose sound effortlessly blends hypnotic grooves with textured atmospheres. Adding further depth, the release includes a mesmerizing remix by none other than Audio Werner—bringing his signature subtlety and swing to the project. A versatile and timeless record, equally suited for introspective listening or peak-time sets. A must-have for discerning selectors and vinyl enthusiasts alike.

2025 Repress

Loose Grooves & Bastard Blues is Tommy Guerrero's sublime debut. Of this beloved masterpiece, the legendary skater himself says: "my 1st album. It was never meant to be released. I was just recording for the fun of it.. still my fave. Oh so naive..." And you know what? It's definitely Be With's fave too. An astonishingly great record. A chill, blissful, deeply moving album, it was rightly garlanded as an instant classic.

A laidback, fusionistic ride replete with loopy drum tracks underpinning Tommy's trademark reflective guitar stylings, Loose Grooves & Bastard Blues remains powerfully evergreen. Originally released in 1997, there's elements of jazz, trip hop, rock and downtempo groove. All shot through with a heavy dose of soul. Thirteen tracks of lo-fi (mostly) instrumental freshness fused with Cuban, Latin and blues, it's a must for fans of Money Mark, J Dilla, RJD2, DJ Shadow and Pete Rock. As ever with Tommy's records, the title sums up the music contained within most aptly. And writing about his songs, his vibes, is one of the trickier things to do, it has to be said. It's just all gorgeous!

A total vibe throughout, to blast Loose Grooves & Bastard Blues is a majestic experience, one that suits a start-to-finish listen and renders the picking out of highlights totally redundant. Featuring nagging, deeply melodic guitar lines - both electric and acoustic - over simple rhythms with such sumptuous elegance, the hypnotic playing against unrushed percussion releases a crystal clear stream of healing frequencies. It's ust divine. This album laid the blueprint from which Tommy Guerrero would subsequently explore further on A Little Bit of Somethin' and Soul Food Taquiera.

Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland. The original and iconic sleeve, designed by Natas Kaupas, has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

This isn't your abuela's salsa night - this is CHEO Y LOS CONSENTIDOS DE LA CASA. Funk-forward. Rhythm-obsessed. 100% dance floor approved. Cheo y Los Consentidos de la Casa is a dynamic, funk-infused Latin music project led by Cheo Pardo (of Los Amigos Invisibles). Serving as the house band for a bi-weekly dance night at NYC's Nublu, the group blends salsa, boogaloo, cha-cha-cha, and bolero with psychedelic effects and deep grooves. Their debut live album captures this high-energy fusion, reimagining Latin classics with a modern, electrifying twist that honors tradition while pushing boundaries. Born from a love of vintage Latin soul and the raw energy of NYC's dance floors, Cheo assembled an all-star crew of the city's hottest Latin players to cook up a high-octane blend of salsa, boogaloo, cha-cha-cha, and bolero - all filtered through wah-wah pedals, space echoes, fuzzy guitar solos, and a deep, unshakable groove. The result? A psychedelic, percussive party that's equal parts tradition and funked-out future. Their debut album, recorded live at Nublu, captures the heat, sweat, and sabor of their wildest nights - reimagining classics from Joe Cuba, Willie Colón, Eddie Palmieri, Mon Rivera, and more. Each track is a tribute and a reinvention, breathing new life into the old- school with a cosmic twist, and opening the doors for a whole new generation to feel that sabrosura in their bones.

Old-time and traditional music stay exciting for their contrasts. Exacting instrumentation honed through mentorships and late-night jams at fiddler's conventions tangles with a community-sourced inventiveness that influences variants and new sounds. Joseph Decosimo is a master of this genre for this very reason, blending deep technique with an openness and curiosity that keep his music crackling with life. A "marvelous fiddler" (No Depression) and banjo player who braids "exultation and veneration" (INDY Week) into his music, on his third solo album Fiery Gizzard Decosimo gathers a close-knit ensemble of friends from his musical career to infuse his interpretations of fiddle and banjo pieces with a contagious communal joy. As an artist working with traditional music from the South and Appalachia, Decosimo chooses songs based not only on historical significance and lineage but also his own sensory approach. For Fiery Gizzard, his ear was tuned to otherworldly tones and mystery, sourcing from field recordings such as Virginia fiddler Luther Davis' hypnotic version of "Shady Grove" while amping up the music's psychedelic potential. On the middle Tennessee banjo composition "Flowery Girls," a VHS of bluesman Abner Jay inspired Decosimo to rig up a pickup inside a fretless banjo and play it thr ough a tube amp to capture some of Jay's edge and funkiness. But to round out the sound and keep it kinetic meant galvanizing a genre-eschewing crew to jam out - and not in a "spaced-out drooly" kind of way, he laughs, but as a sort of "responsive conversation." Decosimo has always been a community-minded artist. He began playing as a seventh graderin Tennessee, fostering relationships with older players at jams and in homes, a learning mode natural to his inquisitive nature and desire for musical connection. A folklorist by intuition, he later became one by profession, studying with old-time legend Clyde Davenport, teaching in East Tennessee State University's renowned bluegrass program, and receiving his PhD at the University of North Carolina with a dissertation titled "Catching the `Wild Note': Listening, Learning, and Connoisseurship in Old-Time Music." In North Carolina, Decosimo kicked about in the verdant environment of Durham and Chapel Hill's folk and indie scenes, collaborating with artists including Alice Gerrard, Hiss Golden Messenger, and Jake Xerxes Fussell. This community has influenced his own music, including his "sublime and strangely heartening" (Bandcamp Daily) 2022 release While You Were Slumbering and Beehive Cathedral, Decosimo's 2024 "Appalachian mountain music treasury" (New Commute) trio album with Luke Richardson and Cleek Schrey for Dear Life Records. Continuing on this path, Fiery Gizzard is home base for a loose outfit of mostly Tarheel-based musicians from within and beyond traditional music. Inspired by a tour with fiddler Stephanie Coleman (Nora Brown), guitarist Jay Hammond, and synth builder and multi-instrumentalist Matthew O'Connell, Decosimo assembled studiomates based on close friendships and comfort. Coleman, O'Connell, and Hammond contribute to Fiery Gizzard, along with bassist and producer Andy Stack (Helado Negro, Wye Oak), horn player Kelly Pratt (Beirut, David Byrne), Mipso and Fust's Libby Rodenbough, Joseph O'Connell (Elephant Micah), andtrad/experimental artist Cleek Schrey. Decosimo's fiddle and banjo work is virtuosic, intricate and simple simultaneously, a testament to his many years of study. On some tracks, his playing or lovely, plain-hearted singing is the centerpiece, such as on his interpretations of Texan street preacher Washington Phillips' 1929 recording "I Had a Good Father and Mother" or the Eastern Kentucky fiddle barn-burner "Glory in the Meetinghouse," famously played by Luther Strong for Alan Lomax. But there's also a trusting open-door policy, like where Southern Appalachian tune "Ida Red" relaxes into Coleman's sweet, confident fiddling and Hammond's loping guitar. As a bandleader, Decosimo's confidence and enthusiasm for the music reveal the heart of traditional music and how it can come to life through community. Fiery Gizzard is Joseph Decosimo as a powerful champion of traditional music - a sponge who soaks up as much as he squeezes out, a responsive artist who makes his genre accessible, and a magnet who can bring musicians of all sorts into his orbit with his same passion.

Triple LP pressed on oxblood red, silver and deep ocean pearl vinyl. Pearl Abyss, in collaboration with Black Screen Records, is announcing the release of a special vinyl album set, commemorating the 10th anniversary of its flagship MMORPG, Black Desert. The 3xLP collection celebrates a decade of the game's rich musical legacy, marking a milestone in the globally successful Black Desert IP. Music has been a core pillar of Black Desert's immersive experience since its inception. The anniversary vinyl set pays tribute to that legacy, offering fans an opportunity to revisit their in-game memories through the iconic compositions that have accompanied them on their adventures. The album features a handpicked selection of tracks, composed by Hwiman Ryu and his team, spanning a wide range of genres including jazz, ethnic fusion and alternative rock. Each piece reflects the emotional depth and cultural vibrancy of the Black Desert universe. "I believe vinyl is a journey through time, through music," said Hwiman Ryu, music director at Pearl Abyss. "Since it's common to listen to one side in its entirety, each track builds on the next, complementing each other and deepening the emotional experience. When you listen to the Black Desert soundtrack on vinyl, we hope it will stir something in your adventuring heart and bring about unforgettable memories." In addition to the music, the album's richly designed sleeves are collectible artworks in themselves, making the 10th anniversary set a must-have for audiophiles and longtime fans alike.

Sunshine and Balance Beams, das neunte Album von Pile, ist eine Sisyphus-Parabel über Arbeit und Leben. Um es zu schreiben, begab sich Sänger Rick Maguire an ,einen dunklen Ort" und rang mit dem Konzept, dass es keine Erleuchtung und kein Ende des Leidens gibt. Maguire erforscht den Workaholismus, den Mythos der Leistungsgesellschaft und die Akzeptanz der Sterblichkeit - und das alles in einer teuflischen Allegorie, in der es darum geht, durch einen schattigen Wald zu stapfen und dem ungewissen Traum einer hellen Lichtung entgegenzugehen. Pile ringt mit existenziellen und sozialen Widersprüchen, indem er klangliche Zwischenräume heraufbeschwört. Die Musik existiert irgendwo im temporären Gleichgewicht von Licht und Schatten, Chaos und Ordnung. Heiße, regenähnliche Gitarren, sich verschiebende Drums, die gewundene Wege in Klang und Tempo ebnen, unheimliche Synthesizer und wässrige Streicher fügen sich zu einem Panorama aus lauter und leiser Dynamik zusammen, das der Emotionalität der donnernden Auftritte der Band entspricht. Die Gruppe bevorzugte auch freilaufende Darbietungen, die das Erzählen von Geschichten belebten, während sie eine Streichergruppe (Geigen, Bratsche, Cello) engagierte, um glühende, durchkomponierte Arrangements zu spielen, die von der Cellistin Eden Rayz und Pile mitgeschrieben wurden. Sie ließen sich von Kino- und Opernpartituren von Chopin, Bernard Herrmann und Ralph Vaughan Williams inspirieren, was Sunshine einen überlebensgroßen Sound verleiht, der Piles blitzschnelle Umsetzungen einiger ihrer bisher zugänglichsten Songtexte noch verstärkt. Die Aufnahme ist ein deutlicher Sprung im Produktionswert und stellt Maguires Gesang auf neue und aufregende Weise in den Mittelpunkt. Pile reiste nach Pawtucket, RI, um zwei Wochen lang bei Machines with Magnets mit der langjährigen Tontechnikerin Miranda Serra (Kal Marks, Kira McSpice) aufzunehmen. Das Album wurde von Seth Manchester (Lightning Bolt, Mdou Moctar) gemischt und von Matt Colton (Aphex Twin, Swans, Muse) gemastert. Sunshine and Balance Beams ist das erste Album von Pile für das Chicagoer Label Sooper Records.

Sunshine and Balance Beams, das neunte Album von Pile, ist eine Sisyphus-Parabel über Arbeit und Leben. Um es zu schreiben, begab sich Sänger Rick Maguire an ,einen dunklen Ort" und rang mit dem Konzept, dass es keine Erleuchtung und kein Ende des Leidens gibt. Maguire erforscht den Workaholismus, den Mythos der Leistungsgesellschaft und die Akzeptanz der Sterblichkeit - und das alles in einer teuflischen Allegorie, in der es darum geht, durch einen schattigen Wald zu stapfen und dem ungewissen Traum einer hellen Lichtung entgegenzugehen. Pile ringt mit existenziellen und sozialen Widersprüchen, indem er klangliche Zwischenräume heraufbeschwört. Die Musik existiert irgendwo im temporären Gleichgewicht von Licht und Schatten, Chaos und Ordnung. Heiße, regenähnliche Gitarren, sich verschiebende Drums, die gewundene Wege in Klang und Tempo ebnen, unheimliche Synthesizer und wässrige Streicher fügen sich zu einem Panorama aus lauter und leiser Dynamik zusammen, das der Emotionalität der donnernden Auftritte der Band entspricht. Die Gruppe bevorzugte auch freilaufende Darbietungen, die das Erzählen von Geschichten belebten, während sie eine Streichergruppe (Geigen, Bratsche, Cello) engagierte, um glühende, durchkomponierte Arrangements zu spielen, die von der Cellistin Eden Rayz und Pile mitgeschrieben wurden. Sie ließen sich von Kino- und Opernpartituren von Chopin, Bernard Herrmann und Ralph Vaughan Williams inspirieren, was Sunshine einen überlebensgroßen Sound verleiht, der Piles blitzschnelle Umsetzungen einiger ihrer bisher zugänglichsten Songtexte noch verstärkt. Die Aufnahme ist ein deutlicher Sprung im Produktionswert und stellt Maguires Gesang auf neue und aufregende Weise in den Mittelpunkt. Pile reiste nach Pawtucket, RI, um zwei Wochen lang bei Machines with Magnets mit der langjährigen Tontechnikerin Miranda Serra (Kal Marks, Kira McSpice) aufzunehmen. Das Album wurde von Seth Manchester (Lightning Bolt, Mdou Moctar) gemischt und von Matt Colton (Aphex Twin, Swans, Muse) gemastert. Sunshine and Balance Beams ist das erste Album von Pile für das Chicagoer Label Sooper Records.

Sunshine and Balance Beams, das neunte Album von Pile, ist eine Sisyphus-Parabel über Arbeit und Leben. Um es zu schreiben, begab sich Sänger Rick Maguire an ,einen dunklen Ort" und rang mit dem Konzept, dass es keine Erleuchtung und kein Ende des Leidens gibt. Maguire erforscht den Workaholismus, den Mythos der Leistungsgesellschaft und die Akzeptanz der Sterblichkeit - und das alles in einer teuflischen Allegorie, in der es darum geht, durch einen schattigen Wald zu stapfen und dem ungewissen Traum einer hellen Lichtung entgegenzugehen. Pile ringt mit existenziellen und sozialen Widersprüchen, indem er klangliche Zwischenräume heraufbeschwört. Die Musik existiert irgendwo im temporären Gleichgewicht von Licht und Schatten, Chaos und Ordnung. Heiße, regenähnliche Gitarren, sich verschiebende Drums, die gewundene Wege in Klang und Tempo ebnen, unheimliche Synthesizer und wässrige Streicher fügen sich zu einem Panorama aus lauter und leiser Dynamik zusammen, das der Emotionalität der donnernden Auftritte der Band entspricht. Die Gruppe bevorzugte auch freilaufende Darbietungen, die das Erzählen von Geschichten belebten, während sie eine Streichergruppe (Geigen, Bratsche, Cello) engagierte, um glühende, durchkomponierte Arrangements zu spielen, die von der Cellistin Eden Rayz und Pile mitgeschrieben wurden. Sie ließen sich von Kino- und Opernpartituren von Chopin, Bernard Herrmann und Ralph Vaughan Williams inspirieren, was Sunshine einen überlebensgroßen Sound verleiht, der Piles blitzschnelle Umsetzungen einiger ihrer bisher zugänglichsten Songtexte noch verstärkt. Die Aufnahme ist ein deutlicher Sprung im Produktionswert und stellt Maguires Gesang auf neue und aufregende Weise in den Mittelpunkt. Pile reiste nach Pawtucket, RI, um zwei Wochen lang bei Machines with Magnets mit der langjährigen Tontechnikerin Miranda Serra (Kal Marks, Kira McSpice) aufzunehmen. Das Album wurde von Seth Manchester (Lightning Bolt, Mdou Moctar) gemischt und von Matt Colton (Aphex Twin, Swans, Muse) gemastert. Sunshine and Balance Beams ist das erste Album von Pile für das Chicagoer Label Sooper Records.

Country, Township-Jazz und Pop-Hits aus der Hochphase der sambischen Freiheitsbewegung. Der Sänger, Gitarrist und Bandleader Alick Nkhata bewegt sich mühelos zwischen einsamem Country-Slide, Big-Band-Pop und luftdichten Gesangsharmonien, die alle ihre Wurzeln in Bemba- und anderen afrikanischen traditionellen Liedern und Rhythmen haben. Es ist eine schwindelerregende, umfassende und weitreichende Mischung von einem Künstler und Musikarchivar, der zur Stimme des Freiheitskampfes seines Landes wurde. Die Texte und die Musik spiegeln die Zeit wider - einsame ländliche Klagelieder wie ,Nafwaya Fwaya" und ,Fosta Kayi" driften entlang der Eisenbahnlinien in die städtischen Zentren und Kupferminen. "Nalikwebele Sonka (I Told You Sonka)", gesungen in ,Deep-Bemba`, verbindet honiggetränkte Jodler mit einer Warnung vor der Abwärtsspirale der Arbeitslosigkeit in den Townships, während "Mayo Na Bwalya" (Mother of Bwalya) die Bitte einer Mutter an einen traditionellen Singvogel ist, ihren missratenen Sohn zu führen. Lieder wie ,Shalapo", ,Kalindawalo Na Mfumwa" und sein größter Hit ,Imbote" vereinen Klavier, Big-Band-Hörner und sogar frühe elektronische Instrumente zu atemberaubenden synkretistischen Pop-Meisterwerken. Diese LP ist das erste Mal, dass seine Musik auf Vinyl wiederveröffentlicht wird. Auf hochwertigem schwarzem Vinyl mit 12-seitigem Deluxe-Booklet mit unveröffentlichten Fotos, Texten, Übersetzungen und Anmerkungen des NTS-Radiomoderators Jamal Khadar.

Multi-award winner Jack Garratt makes his very welcomed return with the announcement of third album Pillars - out on Cooking Vinyl. Marking his first full-length project in five years, Pillars is vibrant, emotionally charged and a celebration of love, community, and self-discovery. Pillars is a testament to Jack"s evolution as an artist and individual. Following the release of his 2020 album "Love, Death & Dancing" Jack found himself yearning to reconnect with his fans and his craft. This album is his answer: a bold, unflinching exploration of love in all its forms - romantic, platonic, and self-love - woven into a tapestry of lush melodies, infectious beats, and heartfelt storytelling. Since winning the Brits" Critics" Choice Award and the BBC Sound Of poll in 2016, Jack Garratt has released two critically acclaimed albums, Phase (2016) and Love, Death & Dancing (2020). Known for electrifying live performances and a genre-defying sound, Jack continues to push boundaries with his deeply personal and sonically adventurous music, with Pillars being no exception.

Multi-award winner Jack Garratt makes his very welcomed return with the announcement of third album Pillars - out on Cooking Vinyl. Marking his first full-length project in five years, Pillars is vibrant, emotionally charged and a celebration of love, community, and self-discovery. Pillars is a testament to Jack"s evolution as an artist and individual. Following the release of his 2020 album "Love, Death & Dancing" Jack found himself yearning to reconnect with his fans and his craft. This album is his answer: a bold, unflinching exploration of love in all its forms - romantic, platonic, and self-love - woven into a tapestry of lush melodies, infectious beats, and heartfelt storytelling. Since winning the Brits" Critics" Choice Award and the BBC Sound Of poll in 2016, Jack Garratt has released two critically acclaimed albums, Phase (2016) and Love, Death & Dancing (2020). Known for electrifying live performances and a genre-defying sound, Jack continues to push boundaries with his deeply personal and sonically adventurous music, with Pillars being no exception.

Repress on transparent green vinyl. With Loneliness Road, pianist Jamie Saft, legendary bassist Steve Swallow, and versatile drummer Bobby Previte present a work that is as unexpected as it is captivating_elevated by the haunting voice of none other than Iggy Pop. Far from being just another jazz album, this recording is a bold artistic exploration that fuses contemplative jazz, elements of blues, and the gravelly baritone of a punk icon turned poet. At its core, the album is deeply rooted in modern jazz tradition. Saft's lyrical piano, Swallow's fluid electric bass lines, and Previte's dynamic, nuanced drumming create a soundscape that is intimate and atmospheric. The true surprise, however, comes with Iggy Pop's appearance on three tracks. Here, he doesn't snarl or shout as in his rock persona _ instead, he delivers words with a weathered, introspective tone that feels more spoken than sung. The lyrics touch on loneliness, impermanence, and existential searching _ perfectly in tune with the album's title. Tracks like the eponymous "Loneliness Road" and "Don't Lose Yourself" are steeped in lyrical depth and emotional gravity, drawing the listener into a reflective, late-night world.

Two decades in the vault - now finally on wax: Ray Kajioka opens the archives and unveils a selection of tracks originally recorded as demos around 20 years ago, now fully produced and released for the first time. Deeply rooted in the tradition of Detroit Techno, the tracks offer warm chords, emotional depth, and the artist's signature groove.

N-You-Up & Boogie Vice Deliver Feel-Good Firepower with 'Come On Closer' on Definitive Recordings
Definitive Recordings proudly welcomes a brand-new floor-filling release from Boogie Vice and N-You-Up, two artists well
known to fans of Get Physical Music and the global house underground. Their new collaboration, ‘Come On Closer’, is a
powerful, feel-good house bomb that blends infectious female vocals, uplifting grooves, and jazzy soul into one irresistible EP.
The Original Mix sets the tone with its high-energy beat and bouncy piano bassline, laying the foundation for a hooky female
vocal that anchors the entire track. It’s pure peak-time house, designed for hot, sweaty dancefloors. Things get deeper on the
Carboot Sale Mix, a jazz-infused reinterpretation featuring live drum fills, trumpet flourishes, and rich organ chords that give it a
smooth, late-night edge.

A stripped-back Dub Mix follows, keeping things rolling with minimal vocals and a groovy focus on rhythm and atmosphere. The
EP also includes two bonus DJ-friendly tools: the Piano Tool, which spotlights the irresistible keys at the heart of the original,
and the Intro Mental Tool, a perfect warm-up cut with gradual layering and tension-building groove.
N-You-Up, the Southern France-rooted producer formerly known as The Beatangers, brings decades of DJ experience and a
deep love for jazz, funk, and disco into his sound. With standout releases on Nervous and Get Physical he is a name
synonymous with high-quality house music that always moves the crowd. Boogie Vice, hailing from Paris, burst onto the scene
with chart-topping nu-disco releases like 'Bel-Air' and 'Bad Girl', later gracing labels such as Ed Banger, Cuff, and Outcross
Records. With his unmistakable blend of funk, house, and flair, he continues to push boundaries while connecting with a global
audience.

Zur Feier des 40-jährigen Jubiläums des Debütalbums "First And Last And Always" von The Sisters Of Mercy wird ein 4LP-Vinylset veröffentlicht.

Es enthält das Originalalbum sowie die drei EPs auf Black & Red Marbled Vinyl, die vor der Veröffentlichung erschienen sind - »Body & Soul«, »Walk Away« und »No Time To Cry«. Jede EP enthält Bonustracks, die nicht auf dem Album enthalten sind.

Die 1980 in Leeds von Gitarrist Gary Marx und Sänger Andrew Eldritch gegründete Band veröffentlichte im März 1985 »First And Last And Always«, den Höhepunkt von fünf Jahren unabhängiger Veröffentlichungen, mit denen sie sich eine große Fangemeinde erspielte.

Ihre erste Veröffentlichung bei Warner (die sie 1984 unter Vertrag nahmen) erreichte Platz 14 der UK Album Charts. Zu dieser Zeit spielte die Band mit Wayne Hussey an der Gitarre und Craig Adams am Bass - beide verließen später die Band und gründeten The Mission.

SND & RTN presents two exceptional dub-infused tracks, featuring deep, atmospheric remixes by the legendary Detroit artist Stephen Hitchell, under two of his many monikers. cv313 began as a collaborative project between Stephen and Rod Modell, much like Echospace. Intrusion, however, emerged as Hitchell’s solo venture into the depths of dubtechno. Limited coloured vinyl.

Banana Stand vinyl. I Was Trying to Describe You to Someone is Wednesday's second fulllength album & first as a full band. The Asheville, NC quintet (guitarist/ vocalist Karly Hartzman, lead guitarist Daniel Gorham, pedal steel guitarist Xandy Chelmis, bassist Margo Schultz & drummer Alan Miller) maximizes the dark dissonance of a three guitar attack to highlight the emotionality of Hartzman's bell-clear vocals & wisps of half-recalled memories & literary references that make up her lyrics. I Was Trying to Describe You to Someone's eight songs meld elements of shoegaze, grunge, indie pop & southern American culture into a uniquely personal style of modern rock music that resonates with power & tenderness. The ever-darkening & deepening of Wednesdays' sound on I Was Trying to Describe You to Someone owes a debt of influence to The Swirlies, Arthur Russell, Red House Painters, Tenniscoats, Ana Roxanne, Acetone, & their continued collaboration with MJ Lenderman (who lends backing vocals to the songs "Billboard" & "November"). I Was Trying to Describe You to Someone was recorded at Hartzman's home with engineering assistance from her roommate Colin Miller. The depth & clarity of the recordings balance the distorted volume of Wednesday's live performances with the intimacy of Hartzman's voice. Her words hold the center of the chaos, unobscured by the power of the band. Hartzman describes her lyrics as "attempts to access old personal memories & do them justice through prose, with inspiration from the writings of Richard Brautigan, Flannery O'Connor, David Berman & Tom Robbins, & movies like Steel Magnolias."

French electronic producer heylucas (formerly Luca) steps into a new era with his highly anticipated debut album, "hey".



Following a series of acclaimed singles throughout 2024 and 2025, "hey" marks a turning point in his artistic journey. After his first live performance in late 2024 met with enthusiasm, it became clear, Luca was no longer just a bedroom producer but a true performer. A shift that inspired the name change from Luca to heylucas, embracing a broader vision for his music. This career change is all the more significant now that he has just announced his very first solo live show at POPUP! in Paris on 24 May.


"hey" is a deeply personal recollection of emotions: the highs and the lows, the joy of loved ones, the grief of loss, and the thrill of firsts. From euphoric moments to introspective instants, the album showcase the diverse experience of the artist during this transformative year. Singles like "do the things that bring joy" "either it goes well, or it passes" and "keep dancing" are the perfect example, shaping his signature sound: heartfelt, uplifting tracks that make you want to move and reflect at the same time.


“Do It All Again” in collaboration with Swedish duo HNE, features spoken vocal snippets collected from real-life encounters in the final months of the album’s creation, blend with an energetic/euphoric production.


The album release will be doubled by the release of an exclusive live session by heylucas in which he will reinterpret classics from his repertoire as well as new tracks from his “hey” album.



More than an album, hey is a statement. It’s heylucas’s way of waving hello to listeners, to concertgoers, and to everyone who connects with the emotions he pours into his music.

Dokkerman & The Turkeying Fellaz, the Hungarian apostles of heavy funk return with this crisp 7” featuring two deep cuts. On this one they show us their more mature and mellow side fusing Oriental, African and psychedelic characteristics with their signature all-in dirty funk sound.

’Hat’ on side A is a mellow jam of the kind we all love: hypnotic guitar and organ playing over a slow burning groove and a beat you start nodding your head to in the second the needle hits the groove. Ont he flip, ’Kilenc’ is an uptempo number composed and performed in the same vein - the perfect choice for any bold funk set played for an open minded crowd.

Limited to 300 copies.

Subjekt mints a new limited edition series with a first vinyl pressing of some Biz (Transmat, Acquit Records) tunes that have previously been available only digitally via his Bandcamp. The Aussie is a real pioneer of techno in his homeland and has also made a mark around Europe with outings on top labels like Further Electronix and Tronic. He always delivers deep, hard-hitting cuts that draw on experiences picked up in the scene since the late '80s. This one opens with 'Tears,' which is a deep and atmospheric sound with fuzzy chords and melancholic moods over a mid-tempo rhythm. 'Worlds Collide' brings some Detroit mysticism, then 'Dark Mofo' taps into electro for a deft, kinetic rhythm and icy melodies that come back from the future. 'Fallen Apache' is a deep and dubby roller with an introspective edge, and 'Teach Em A Lesson' shuts down with an astral odyssey and more fluid synth work over analogue drums. Tasteful stuff from this vital veteran.

Life Elsewhere marks the striking debut of Catalan artist Oriol Cebrián, working under his Absent Corps alias. Known in underground circles for his razor-sharp ear and deep historical knowledge of electronic music, Oriol steps fully into the spotlight with an EP that both pays tribute to—and expands upon—the clubbing traditions of the late ’80s and early ’90s Valencia and Girona scenes: two epicenters of Spain’s most fervent and influential electronic underground. Crafted with a clear sense of purpose and sonic identity, Life Elsewhere is a masterclass in tension and rhythm—fusing hard- edged new beat with body-moving EBM, break-heavy trance detonations, and raw, unfiltered machine techno. All of it is filtered through a contemporary, uncompromising vision. Each track feels designed for the floor, yet refuses to fall into formula—constantly shifting between muscular propulsion and hypnotic detail. Presented in a truly limited ONE- OFF edition of 300 copies, lacquer-cut and pressed on 180g high-quality solid BLUE vinyl. All tracks have been specially remastered and mastered for vinyl.

36 and Past Inside The Present label head Zake return to their Stasis Sounds For Long Distance Space Travel project which is music designed not for the distracted world we inhabit, but for the still moments we so often neglect. Crafted with intention and restraint, it is a universe that suspends the listener in time across glacial soundscapes in which the duo conjures a sense of cosmic awe. Soft, slow-moving drones and textural washes drift like solar winds through the vacuum, suggesting the boundless calm of deep space. The production is rich, gentle with tonal shifts and barely-there harmonics that evoke both distance and intimacy, wonder and melancholy. It feels like music beamed in from the edges of the known universe. If you fancy a contemplative journey from the edge of Earth's thermosphere into the unknowable beyond, tune into Stasis Sounds on your best headphones.

20/20 Vision's 30th birthday celebrations continue apace with another choice reissue. This one throws it over to Huxley, a prolific and accomplished producer who defined the house and garage sounds of the 2010s. This EP is from 2012 and is one of many standouts that exemplify his bass-driven style. 'Box Clever' brings big paint stabs and bubbly rhythms, 'Atonement' is a low-slung and deep cut with warm pads and silky bass and 'Feel What You Want' is full of colourful cosmic pads and more irresistible grooves. Also included is a new mix from Berlin house Queen Cinthie alongside, for the first time ever, her partner Meat. It's a chunky cut with a new school twist on classic house.

Category 1 Music Sampler - Vol. 2 showcases the outstanding talents of several of house music’s most celebrated talents. The 12” features outstanding soulful house performances by Terry Dexter, Ron Carroll and Ed Ramsey, along with the producer/DJ mixing magic of Eric Kupper, Richard Earnshaw and Chicago’s outstanding remixer, Emmaculate. Also included in this “must have” collection is Mona Lisa’s hit, Dancin’, a Jackin’ House floor filler with a rockin’1200 Warriors mix. Vol. 2 effectively brings together the best of house music from Chicago, Detroit, East Coast USA and the UK. Limited Pressing. Act Fast !

Hugely prolific American ambient artist and analogue drone don zake is back once again with some new re-imaginings of works from a wide range of artists from glitch-pop to post-rock. His singular sound is imprinted on all of the source material which becomes defined by dusty texture and frayed edges as he layers up immersive, meditative soundscapes such as highlights like a haunting take on Beno�t Pioulard's 'Xaipe,' the luminous 'Nicotiana Suite' with Pausal and a poignant reshaping of Inquiri's 'They Come Around.' Each remix reflects zake's deep respect for the originals while also adding something wholly his own.

‘Maybe I’m Dreaming’ is the latest collection selected by Mikey Young (Total Control, EddyCurrent Suppression Ring) and Keith Abrahamsson (Founder and Head of A&R at AnthologyRecordings), the mangled minds behind the beloved ‘Follow the Sun’, ‘Sad About the Times’,and ‘…Still Sad’ compilations. The twenty tracks of ‘Maybe I’m Dreaming’ make a conscious(and unconscious) detour from its predecessors, sourced entirely from private press releases,spanning new decades and production modes within homespun folk, soft rock and otherwise70s and 80s FM radio adjacent music.  The magic of ‘Maybe I’m Dreaming’ is the untold story of the artists behind these songs; thosewho missed the big time, but whose song craft and unrequited care hit the right notes, bothhigh and low.
Where ‘Follow the Sun’ and ‘Sad About the Times’ introduced us to the fame chasing, ambitioncrashing crooners who missed their shot in the mainstream, ‘Maybe I’m Dreaming’ delvesdeeper into the isolated wilds - a private world where production quirks, late-night tape hiss andone-man studio dreams were not necessarily a choice but the hand that was dealt.
With the parameters set to ‘private press only’, Young and Abrahamsson follow a circuitous trailof invention and emotion, documenting a spirit that’s more homespun, sometimes lonelier andoften a little weirder. The guitars still strum, but the keyboards’ hum is more prevalent andprecious; wistful harmonies brush up against lo-fi drum machines; a bittersweet fog lingeringover even the brightest melodies.
As with their previous collaborations, Young and Abrahamsson weren’t interested inconstructing a museum or drafting a historical survey. ‘Maybe I’m Dreaming’ is a sentimentalmixtape, assembled late at night when the mind wanders and old memories blur with imaginedfutures, those within reach and those far too mysterious to ever encounter. Songs wereunearthed in personal collections, deep YouTube burrows, dilapidated web archives and thedim corners of Discogs, with many selections tied not only to intuition but to personalconnection.  Some tracks arrived via friends - Kelley Stoltz, a frequent guide for Young, tipped him off toboth Peter Kraemer’s lost gem ‘Let the Light Slip’ and Awakening’s revelatory closer - addingan unseen but deeply felt thread of camaraderie to the compilation.
The journey takes in a wide, strange sweep: The Watson Brothers Band’s ‘Just Whistle’ opensthe collection with a sigh and a shrug, a song that feels like it’s been waiting for decades to beheard again. Jim Huxley’s ‘Tessa on a Magazine’, rediscovered after a long and winding searchby Young, shimmers with a distinctly Australian melancholia. The heartbreak of Rick Penta’s‘My Story Changes’ and Twice As Nice’s delicate ‘Thoughts of You’ float easily alongside themore buoyant, radio-dream sheen of Barracuda’s ‘Baby I Love You’ and MAK’s sunshinedappled ‘That’s Life’.
Widening the aperture to the late 1970s and early 1980s allows for a deeper exploration intoevolving production techniques and musical technologies. The Squad’s ‘D.L.M.H.I.M.A.’ andChristoph Spendel Group’s ‘Forever’ crackle with the kind of bedroom synth warmth that couldonly come from the analogue age, while the soulful, yearning undercurrent of Awakening’s‘Gotta Do Somethin / Might As Well Cultivate’ caps the collection with a call for action - ormaybe just acceptance - in an accidental Brian Eno ‘Here Come the Warm Jets’ parroting.
While ‘Maybe I’m Dreaming’ moves away from the ‘sad man with guitar’ archetype that hoveredover its predecessors, it remains tethered to a familiar emotional gravity - a balance of longingand lightness that defines this corner of the musical universe. Each track shuffles gentlybetween resignation and hope, sadness and serenity, as if the artists themselves were chasinga dream just beyond reach, recording not for fame but for the simple act of getting it, thatprimal, creative itch, out into the world.
Available on CD and 2LP, featuring the third eye-opening artwork of Dang Wayne Olsen. Thedouble LP set arrives in an outrageous double-wide spine jacket with printed inners and adream journal entry by Pacific Northwest artifactual authority Josh Lewellen.