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Placid aka Paul Wise is chief in command at ‘We’re Going Deep’ – an expanding online community and record label, born from lifelong affair with the many shades of electronic rhythm and obsession for collecting records since 1988. He’s spent the last 3 decades moving heads and feet at venues, parties and fields across the UK and beyond.
On a mission to share and release new music via his label, you’ll find only the best in Acid, Electro, IDM, Techno and Deep House for the dance floor, front room or your headphones making the cut. For the 10th and final edition of his much prized various artist series, he unearths more machine fuelled magic: offering another set of equally excellent music from stellar talent.
Starting the dance, Dutch maestro Boris Bunnik dons his Versalife mantle to opens with ‘Skirmish 101’. Setting the machines to cycle, Bunnik fires a hefty slab of bass to bring down the walls whilst pristine robot like rhythms set your body in motion, all enveloped with sparse synthesis and shimmering effects. Crashing the joint with ‘Acid Baby’ - The Acid Pimp drops a no holds barred, riotous 303 workout that’s nothing short of a tour de force in exorcising the power of Roland’s most celebrated silver box. Putting pedal to the metal with drums and reverb, a smiley face or grimace is guaranteed!
Longtime collaborators Jamie Anderson & Owain K reset the dial on the flip with ‘Basement Dub’, a house paced workout that glides at a steady pace. Evoking the spirit of Mood II Swing whilst immersed in the depths of an underwater realm. Ending on the upbeat note of Konerytmi’s ‘Aamunkoitto’, the Finnish producer reflects a breezy disposition with a joyful melody, step-to electro beat and rolling acid bassline – all perfectly balanced to keep your calm and head out in the right direction, a great way to sign off on this highly collectable series.

Ltd. Purple & Black Splatter Vinyl. It's been four years since Zach Saginaw, aka Shigeto, returned home to Michigan from a stint in Brooklyn, NY, and since then, the multi-faceted musician has become a part of the fabric of Detroit's music scene. While always having a personal approach to his projects, Saginaw's influences for his third album, The New Monday are more about the community of Detroit than anything else. Named after a weekly DJ event called Monday is the New Monday that Saginaw does at the unassuming Motor City Wine with a group of friends, The New Monday is the result of Saginaw diving into the city's deep record culture, where there legacy of artist's of the past help Saginaw embrace his own contributions. "It's focused on a couple things and they all kind of come together to represent dierent things," explains Saginaw. "My time back in Detroit, back living in Michigan and spending time with a lot of kind of original people who have always been here, learning from them, hearing stories from them, being influenced by them, and inspired by them." While, in the past, projects like Lineage or No Better Time Than Now were rooted in strong personal messages, family and relationships respectively, The New Monday represents a communal eort where solidarity is the key. Going for a simplified approach of just trying to make good tracks, The New Monday is diverse in its styles leaning more into a dance music direction - new ground for a Shigeto project. A new air of confidence in Saginaw has expanded his horizons since his return to Detroit, but traces of his past work will continue to be present. "I don't want people to think I'm leaving anything," says Saginaw. "I'm still me. It's a result of me being immersed in the culture, and inevitably making music that is influenced by that culture whether it be house, techno, jazz, rap. It doesn't matter. It's all coming from what I love about Michigan." While The New Monday still features the jazz textures long associated with Shigeto projects, the varied elements that make up the album cohesively come together to show the distinct inspiration that Saginaw has drew from since his return home to Detroit. Like on "Barry White", which features Detroit hip-hop artist ZelooperZ (a member of Danny Brown's Bruiser Brigade crew who Saginaw also has a side project with called ZGTO), Saginaw captures everything he's been doing all on one track. As much as it's hip-hop influenced, it's a mutant that encompasses elements of dance music, jazz, and ambient sounds. Throughout The New Monday, Saginaw poignantly references the musical influences that have either always been with him or newly discovered. It is Saginaw's interpretation of Detroit's rich culture of innovative artistry, but done so with respect for the history and to contribute, not disrupt. "I think over the past four years, I can confidently say that I found my place here," describes Saginaw. "I'm happy here and I feel that I have the respect from the people I need respect from, that I want respect from. It's all of the result of embracing it and embracing, not Detroit, but embracing community, embracing family,








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f A2D (FT. ZEELOOPERZ & SILAS GREEN) [AAPV]

Compiled by legendary producer Arthur Baker, ‘Breakers Revenge’ is a near-definitive collection of original Funk, Soul, Latin, Disco and Electro classic tracks from 1970-1984. These tracks, a combination of classics and obscurities, have all since become legendary to Breakdancers everywhere.

First played at South Bronx block parties, community halls and park jams in the 1970s and 80s, spun endlessly by the first three major hip-hop DJs – Kool Herc, Grandmaster Flash and Afrika Bambaataa – and found in the record crates of any DJ of note ever since. Seminal funk and soul tracks such as Dennis Coffey’s ‘Scorpio’, The Jimmy Castor Bunch’s ‘It’s Just Begun’, James Brown’s ‘Get on the Good Foot’, The Mohawks’ ‘Champ’ sit side-by-side here with the ground-breaking, classic electro of Afrika Bambaataa’s ‘Planet Rock’, and Arthur Baker’s own definitive ‘Breaker’s Revenge.’ Breakdancing has come a long way from its New York roots to its respected position as an art form today where, for the first time ever, it is to be featured in the Olympics held in Paris this August 2024.

The ‘breakbeat’ remains at the very heart of hip-hop, the mercurial funk, soul and disco tracks, always 100% guaranteed to get B-Boys, B-Girls and Breakdancers moving at any block party, with the percussive breakdown of each track the pinnacle soundtrack to any dance/battle between Breakdancers of any note. Similarly these tracks have been sampled many 1000s of times over by every hip-hop artist and producer of note. KRS-ONE, Marley Marl, Kanye West, Jay-Z, Public Enemy, Eric B, The Fugees, Outkast, Mos Def, Main Source, Jungle Brothers, LL Cool J, De La Soul and, well, everyone!

Compiler Arthur Baker played a pivotal role in hip-hop history when in 1982 he produced Afrika Bambaataa’s seminal ‘Planet Rock’ (as featured here), introducing electronic instruments into hip-hop for the first time ever and in the process created electro. After ‘Planet Rock’, Arthur Baker went on to remix or produce every major artist of note – from New Order to the Rolling Stones, Al Green to the Pet Shop Boys

fabric, the iconic hub of electronic music culture, proudly announces its latest addition to the fabric mix series: "fabric Presents The Streets". This eagerly anticipated compilation marks a milestone in the illustrious history of the UK institution, as they join forces to commemorate 25 years of groundbreaking club nights and genre-defining mixes. The release is accompanied by original material from The Streets in the form of two singles, the first to be shared is “No Better Than Chance”.

fabric Presents The Streets" is more than just a mix; it's a sonic journey through the pulsating veins of UK nightlife. Skinner's deft curation transcends mere selection; from the gritty beats of underground garage and bass music to the icy melodies of UK rap and grime, Skinner weaves together a tapestry of sounds that encapsulates the essence of fabric's legendary atmosphere. The compilation album will also be available in the iconic fabric CD tins.

fabric itself stands as a bastion of innovation and inclusion within the electronic music community. For 25 years, it has been a sanctuary for music lovers, a breeding ground for artistic evolution, and a beacon of diversity in an ever-changing landscape. Its impact on UK nightlife cannot be overstated; fabric is not just a club, but a cultural institution that has shaped the tastes and trends of generations. To commemorate the 25-year journey, fabric's labels will release a collection of exclusives. These will include five special ‘fabric presents’ compilation releases, ‘fabric Presents Shygirl’ was the first to be shared in March.

In addition to the mix album, fabric and The Streets unveil the brand new original single "No Better Than Chance," an electrifying track that encapsulates the spirit of both fabric and The Streets.

“I’ve spent many nights wasted but not wasted any nights in fabric over the years. The dedication to underground music and innovation, the way the bodysonic bass transducers sent the sounds through your body via your feet, the queues, the camaraderie and a real sense of being part of something that people will remember through the haze as the home of some of the greatest moments of their lives. When I was asked to do a mix for the anniversary series I couldn’t wait to get on with it. fabric has become one of the homes of bass music and that’s some of the music I’ve been playing out the most. It’s a pleasure to follow in the footsteps of so many incredible DJ’s in the fabric, FABRICLIVE and fabric presents series and be part of their celebration. Here’s to many more decades of hedonism.” - Mike Skinner

As fabric celebrates its silver jubilee, "fabric Presents The Streets" stands as a testament to the club's enduring legacy and commitment to pushing boundaries. This co

Baby Blue & Halloween Orange Vinyl. In their decade-plus together, the four-piece_Julia Shapiro (guitar, vocals), Lydia Lund (guitar, vocals), Gretchen Grimm (drums, vocals), and Annie Truscott (bass, vocals)_have created a resonant body of work. Live Laugh Love is a natural continuation. Against the bizarre backdrop of the past few years, Chastity Belt remained a supportive space for the members to grow and experiment, drawing on the ingredients most essential to their process since the beginning: authenticity and levity. Recorded over three sessions in as many years (January 2020, November 2021 and 2022), the focus became more about enjoying their time together in the studio than making it feel like work. Their ease and familiarity with engineer Samur Khouja in LA, who also recorded their last album, made for a particularly enjoyable process. Once completed, they returned to renowned engineer Heba Kadry who mastered the album.Album opener "Hollow" sets the tone with a gently driving rhythm while guitar layers stream like sun rays through an open car window. A warmth radiates through Shapiro's voice, even while grappling with feeling lost and stuck. "The older I get," Shapiro says of the lyrics, "the more I realize that I might just always feel this way, and it's more about sitting with the feeling and accepting it, rather than trying to fight it." That wisdom seems to anchor Live Laugh Love. Chastity Belt has never shied from navigating the spectrum of difficult emotions, and an existential thread weaves throughout the subject matter. And yet the songs feel more grounded than ever; there's a sense of quiet confidence and self-assurance that comes with being less numb and more present. Facing discomfort takes more fortitude, after all.Live Laugh Love finds the members in their prime as musicians. Their parts trace intricate patterns over one another, but there's room to breathe between the layers. Everyone contributes to the writing, sometimes switching instruments, and for the first time, all four members sing a song. It's never been more apparent that they are creative siblings, cut from the same belt. "We've been playing music with each other for over a decade," says Shapiro, "so it really does feel like we're all fluent in the same language, and a lot of it just happens naturally.""Laugh" seeks in the balm of friendship, aware of the anticipatory nostalgia that hits during a good time that you're already missing before it's gone; the heavier guitar tones on "Chemtrails" streak ominous chord progressions over Grimm's precision timekeeping, lamenting memories that won't fade easily. During a transitional time, Truscott came across a note in their phone that read, "it's not hard all day, just sometimes," which inspired a poignant line in the chorus of "Kool-Aid," their first song as lead vocalist on a Chastity Belt recording. Another standout, "I-90 Bridge" shines with a silvery melody that soars as Lund belts one of the most resounding moments on the album: "Tell your girlfriend she's got nothing to fear/I'm set in my head/My body's a different story." The track "Blue" saunters nonchalantly with a wink; you can almost hear Shapiro's smile as she sings "Faking it big time/So I can hit my stride/Man, it feels good to be alive," channeling early Chastity Belt channeling early '90s before channeling the late Elliott Smith in a spiral of distortion and insight: "Don't get upset about it/It's gonna pass/Tell all your friends about it/They're gonna laugh.""We have such a strong sense of each other's musical inclinations" says Lund. "I think this allows for a lot of playfulness_we can kinda surprise each other, like a good punchline would."

Der US-Hitmaker veröffentlicht sein Debütalbum
"Fireworks & Rollerblades?, während seine Single
"Beautiful Things? auf Platz 1 der deutschen
Single-Charts steht - und das nunmehr seit bereits fünf
Wochen. International sieht es nicht anders aus: In den
UK-Charts ist der Song ebenfalls auf Platz 1, in den USA
erreichte er #2 und in den "Global 200"-Charts von
Billboard stand "Beautiful Things" ebenfalls fünf Wochen
an der Spitze (aktuell #2). Beste Voraussetzungen also
für das Album, das voller großartiger Songs steckt.

"Fireworks & Rollerblades" beginnt mit einem
rauschenden Intro gefolgt von "Be Someone", einem
Track voller unterdrückter Leidenschaft und Sehnsucht.
Ebenfalls Teil des Albums sind die epische neue Single
"Slow It Down" - aktuell bereits ein viraler Hit -, der
Fan-Favorit "Cry" über die toxische Beziehung zu einem
narzisstischen Menschen und "Friend", eine liebevolle
Ode an die Menschen, die Benson auf seinem
atemberaubenden Weg zu weltweiter Bekanntheit begleitet
haben.

Die Veröffentlichung von "Fireworks & Rollerblades" ist
der nächste große Moment in der Karriere des Benson
Boone, der Anfang dieses Jahres von iHeart Radio zum
"On The Verge Artist" ernannt wurde, im vergangenen
Jahr kürte ihn MTV zum Global PUSH Artist Oktober und
seine EP generierte mit Songs wie "What Was?, "Little
Runaway? und "Sugar Sweet? mehrere zehn Millionen
Streams.

DJ Support: David Penn, DJ Mes, Kevin McKay, Sebb Junior, Art Of Tones, Robbie Rivera, Moon Rocket, Peter Brown, Hatiras, Johnick, Dam Swindle, Jimpster, Disclosure, Ricardo Villalobos, Luke Solomon, Nightmares On Wax, Laurent Garnier, Louie Vega, Steve "Silk" Hurley, Terry Hunter, DJ Sneak

A1 – Vinyl opens on serious anthem by one of Chicago’s greatest also known Stacy Kidd. 'Music For You – MF Mix' encaptures the soulful power of music and the silly energy of garage house dancefloor. This already classic banger track got some little twist for 2024 re-release, and we are honored to be able to release such a nice House track on wax eventually, almost 18 years after Original release (2007)

A2 – Fouk is serving some powerful deep house disco driven music, with a clear inspiration taken from the Garage house spirit of the 90’s-2000 golden era. The result is Cobalt, an impressive dancefloor weapon delivered by the acclaimed duo from Netherlands.

A3 – We are honored to welcome Michele Chiavarini into closing A side on a deeper touch – Vibe We Share. If michele is known for its musicianship and craft capacity that brought him to work all around in the music, he delivers here an interestingly deep house track, with beautiful vocal addition that bring a modern flare to the classic soulful house sound.

B1 – B Side open on a disco banging track, and who better than the jackin house hero Angelo Ferreri to get ourselves shaking heavy on another disco cut ? All Time Disco is probably a track that will have a strong connection with hectic dancefloor. What a delight

B2 – Some very delicious vibes follow on with Marc Cotterell addition to the compilation – Paris By Night. Here goes a journey to soulful house and organ ride with many garage house hints & breaks, Marc brings here a very musical track that might fit easy listening session and dancing hours both with ease and elegance.

B3 – Last of the list comes Teuteu with Kong. Emerging artist and newer to the scene than most of the previous artists, teuteu is noneless bringing some awefully interesting vibes on his B3 closing with a heavy Jazz House track. Organ jazz solo, deep chords, broken house patterns, all you needed to wrap up our Gravity compilation with adequate taste and charm.

Inspired by the strong storytelling sensibilities of 60s folk icons and making a sound that sits her snugly alongside the likes of Aldous Harding, Julia Jacklin and Waxahatchee.

Written after a relationship’s end, Rowena Wise’s Senseless Acts of Beauty is a stunning and searingly honest record.

A new yet accomplished artist, Rowena grew up in the Western Australian surf town of Margaret River perfoming in her family’s folk band. Now grown up and living in Melbourne, her electric solo live performances of recent years has seen a real word of mouth build around her.

A songwriter inspired by the strong storytelling sensibilities of 60s folk icons, Senseless Acts of Beauty delivers on the promise hinted at by her live show. Full of emotional depth, its ten tracks offer heady ruminations on love, loss, and alienation. And by electing to record them all live in the room, often in one take, the kinks and blemishes add weight to the lived experience of Rowena’s lyrics.

10-piece UK afro-fusion outfit TC & The Groove Family are proud to share their new EP ‘We Have Each Other’. Releasing on Friday 7th June via Bridge The Gap, the project sees the band refine the sound debuted on their 2022 album ‘First Home’. Returning to work once again with producer Tom Excell (Nubiyan Twist, ONIPA), the project explores a darker sonic palette, channelling a deep appreciation of UK bass and electronic music alongside afro-jazz sounds and hip-hop sensibilities.

The record documents a time of change within the group - a new lineup, plus members living in different cities and pursuing various paths - whilst also reflecting the turbulent socio-political climate, and the major shifts and changes on the horizon for humanity. However, despite the heavy subject material, the band strike an optimistic, uplifting tone, with MC Franz Von channeling the music into a message encouraging listeners to look around and embrace
community, whatever that may look like. Bandleader Tim Cook shares:

“Our collective purpose is to craft music that empowers and energises individuals to embrace their true selves with pride, celebrating the unity and strength we radiate as one community. No one needs to be alone when they are striving for common humanity. No one should be lonely when we celebrate each other, drawn together by a sound that says it’s good to be me, it’s better to be us. As our MC, Franz Von says, music brings peace, love & energy”.

Opener and lead single ‘Stand Strong’ is a love letter to afrobeat, creating a contemporary twist with its Khruangbin-esque guitar lines and weaving horns, whilst ‘Here, Now’ takes the tempo down to an atmospheric haze of dubbed-out ambient effects, pierced by uplifting horn melodies. ‘Blessed’ sees the group welcome Nubiyan Twist’s Aziza Jaye for a dancehall-meets-North African-flavoured feature, subtly reimagining what Elephunk era Black Eyed Peas would
sound like today.

At the EP’s centre-point and emotional peak, title track ‘We Have Each Other’ showcases the band’s jazz fusion, Latin and dark electronic influences. The tracks growling, subbed-out bass tones return as a theme for ‘Wile Out’ - a UK hip-hop & jungle tinged collaboration with SANITY complete with virtuosic, tight-knit grooves, furious horn lines and a whirlwind of immersive turntablism.

Originally formed in Leeds, TC & The Groove Family’s sound reflects the diverse musical and cultural backgrounds at the core of the project, with songs exploring grooves and genres including afrobeat, broken beat, jungle, jazz and grime. Their music has drawn widespread acclaim, supported by tastemakers including Jamz Supernova and Craig Charles on BBC Radio 6, BBC Introducing West Yorkshire, Jazz FM, Rinse FM, Radio FIP and more. The group have performed at the likes of Glastonbury, We Out Here, Greenman and Boomtown, and will embark on a UK tour across May & June in support of the release of ‘We Have Each Other’.

The inimitable Santonio Echols/Next Generation have penned many a great soulful house hit and one of them is 'Bad For Me' which now arrives as a remix package on the NCM Label out of Detroit. First up is Eddie Fowlkes's dub which brings nice warm, smeared chords and allows the vocal to pop out of the mix and bring the sunshine. Ron Carroll's club mix has a little more direct energy in the drums, then the Emanuell Groove mix is a funky one with steamy sax notes up top and nice loose drums. Last of all, the Mannywya Deep dub mix slows things right down to a late-night crawl.

*REMASTERED ROUGH TRADE 4 TRACK E.P LIMITED TO JUST 500 COPIES*

Everything on “Up Home!” is bigger, richer; the guitars are huge, as though they’re being played through the clouds, massive gusts of blue-green noise that move across the stereo spectrum like weather systems. “Baby Milk Snatcher” is built around face-flattening dub bass, with glinting piano and shards of guitar ricocheting through the song. “W.O.G.S.” is delirious to the point of expiration; “One Way Mirror” is their attempt at weird, lopsided ‘anti-funk’, the song’s melody crushed by avalanches of six-string interference. And the closing “Up” is AR Kane’s masterpiece, a disembodied thud pulsing at its heart as a six-note guitar melody spirals ever onward, Ayuli’s voice lost in its own reverie, hymning escapism via references to Jamaican political activist Marcus Garvey’s ‘black star line’.
• Jon Dale, lead review in Uncut Magazine
who grew up together in Stratford, East London. From the off the pair were outsiders in the culturally mixed (cockney/Irish/West Indian/Asian) milieu of the East End, with Alex and Rudy’s folks first generation immigrants from Nigeria and Malawi, respectively. The two of them quickly developed and fostered an innate and near-telepathic mutual understanding forged in musical, literary and
artistic exploration. Like a lot of second-generation immigrants, they were ferocious autodidacts in all kinds of areas, especially around music and literature. Diving deep into the music of afro-futurist luminaries such as Sun Ra, Miles Davis, Lee Perry and Hendrix, as well as devouring the explorations of lysergic noise and feedback from contemporaries like Sonic Youth and Butthole Surfers, they also thoroughly immersed themselves in the alternate literary realities of sci-fi and ancient history (the fascination with the arcane that gave the band their name), all to feed their voracious cultural thirsts and intellectual curiosity.

It was seeing the Cocteau Twins performing on Channel 4 show the Tube that spurred A.R. Kane into being - “They had no drummer. They used tapes and technology and Liz Fraser looked completely otherworldly with those big eyes. And the noise coming out of Robin’s guitar! That was the ‘Fuck! We could do that!
The duo debuted with the astonishing ‘When You’re Sad’ single for One Little Indian in
1986. Immediately dubbed a ‘black Jesus & Mary Chain’ by a press unsure of WHERE to put a black band clearly immersed in feedback and noise, what was immediately apparent for listeners was just how much more was going on here – a tapping of dub’s stealth and guile, a resonant umbilicus back to fusion and jazz, the music less a conjuration of past highs than a re-summoning of lost spirits.

The run of singles and EPs that followed picked up increasingly rapt reviews in the press, but it was the ‘Up Home EP’ released in 1988 on their new home, Rough Trade that really suggested something immense was about to break. SimonReynolds noted the EP was: Their most concentrated slab of iridescent awesomeness and a true pinnacle of an era that abounded with astounding
landmarks of guitar-reinvention, A.R. Kane at their most elixir-like.

If anything, the remastered ‘Up Home’ is even more dazzling, even more startling than it was when it first emerged, and listening now you again wonder not just about how many bands christened ‘shoegaze’ tried to emulate it, but how all of them fell so far short of its lambent, pellucid wonder. This
remains intrinsically experimental music but with none of the frowning orthodoxy those words imply. A.R. Kane, thanks to that second generation auto-didacticism were always supremely aware about the interstices of music and magic, but at the same time gloriously free in the way they explored that connection within their own sound, fascinated always with the creation of ‘perfect mistakes’ and the possibilities inherent in informed play.

On her sophomore album "Germ in a Population of Buildings", upsammy moves through her surroundings with the curiosity of a place-bending landscape architect. The album is rooted in her interest for ambiguous environments in constant shift, and the feeling of discovering strange patterns in different ecosystems. Often, the Amsterdam-based artist finds herself zooming in and out beyond a place's most recognizable surface features to inhabit the microscopic and gigantic. Gathering field recordings and evocative environmental sounds, she shapes this source material into vibrating electro-acoustic rhythms and unstable, psychedelic textures. upsammy's debut album, 2020's critically-acclaimed "Zoom", was praised for its careful reimagining of IDM, evolving vignettes that nodded towards the dancefloor without being shackled to its rigid set of rules. On "Germ in a Population of Buildings" her process has evolved considerably; the skeletal trace of IDM is still present but it's been trapped in amber, allowing her unique sonic landscape to develop organically. 'Being is a Stone' is a proof of concept in many ways, layering upsammy's contorted voice in rickety patterns beneath a lattice of fragile rhythms and faintly melancholy synths. It's never immediately obvious where the sounds are coming from - a hiccuping beat might be glass cracking underfoot, and larger pulses could be wet concrete, rusted iron or bent plastic. As the sounds develop they morph into each other, demolishing what came before and building on top of the ornamental wreckage. On the dynamic 'Constructing', upsammy's sound design fluxes through hyperactive bass music structures, abstracting expectations at every turn. Often her sounds are whisper quiet, rattling and vibrating until heavier masonry drops and disrupts the structure. And when discernible rhythms subside into the background, like on the album's eerie title track, they become almost illusory, morphing between the real world and the electronic. upsammy's processed voice works like a bridge between these realms, snaking between stark, whimsical melodies on 'Patterning', arching from AutoTuned detachment into cooing, dreamy intimacy. By considering the harmonies between each location she's visited, upsammy has been able to build a unique topology that's an uncanny digital amalgam of her lived experience. It's a thoughtful alternative in an era more concerned with flatting the landscape than crumpling it and examining its peaks and troughs.

Die schwedischen Heavy Rocker GREENLEAF haben mit ihrem neunten Album "The Head & The Habit" den vorläufigen Gipfel ihrer langen Evolution erklommen. Die musikalische Handschrift und Virtuosität von Gitarrist Tommi Holappa, seit mehr als 25 Jahren einer der Vorreiter und tragenden Säulen der europäischen Stoner Rock Szene, zeichnen sich deutlich ab. Die Gitarren werden perfekt ergänzt durch den gefühlvollen, intuitiven Sinn für Melodien und die charakterliche Tiefe, die der klassisch ausgebildete Sänger Arvid Hällagård dem Sound von GREENLEAF verleiht. Neben den erstklassigen Gesangslinien sowie den massiven Fuzz-Power-Riffs hat sich der Frontmann intensive Gedanken zu seinen Texten für "The Head & The Habit" gemacht, die weit über den Standard des oft klischeebeladenen Genres hinausreichen. Wie bereits der Albumtitel ("Der Kopf & Die Gewohnheit") andeutet, sind die neuen Songs als symbolische Kurzgeschichten angelegt, die sich um das Ringen mit Gefühlen bis zu psychischen Erkrankungen drehen. In Hällagårds Lyrik spiegeln sich seine Erfahrungen aus der Arbeit mit Menschen wider, die mit Sucht und anderen psychischen Problemen zu kämpfen haben. Die Heavy Rock Liebhaber GREENLEAF wurden ursprünglich als informelles Privatprojekt unter Freunden gegründet. Alle spielten bereits in anderen Bands, worunter sich so klangvolle Namen wie DOZER, LOWRIDER und DEMON CLEANER finden. Die Schweden suchten einfach nur nach einem Ventil für ihre gemeinsame Liebe zum Hard Rock und Proto-Metal der 70er Jahre, das frei von den Erwartungen und dem Druck ihrer Hauptbands sein sollte. Trotz der Absicht, GREENLEAF nur zum Vergnügen zu betreiben, führte die ungetrübte Freude beim Erschaffen eingängiger Songs dazu, dass ihr gesamtes Umfeld nach Aufnahmen von diesem Material verlangte. Dies führte schließlich zur Veröffentlichung einer selbstbetitelten Debüt-EP im Jahr 2000, der nur ein Jahr später das erste vollständige Album "Revolution Rock" folgte. Die Jahre mit wechselnden Besetzungen waren vorbei. GREENLEAFs stabiler Fokus wurde durch ihr fünftes Album "Trails & Passes" (2014) gekrönt, auf dem erstmals Arvid Hällagård als Sänger zu hören war. Dieser Meilenstein markierte den endgültigen Beginn einer neuen Phase der Band. Mit "The Head & The Habit" verbinden GREENLEAF nun das Bewusstsein für vergangene Triumphe mit reifem Handwerk. Die Schweden wissen, wie sie mehr als je zuvor stärker, härter und auf den Punkt rocken. GREENLEAF verschmelzen donnernde Riff-Magie, mitreißenden und mit Soul getränkten Gesang, frenetische Rhythmen und treibende Takt-Attacken zu einer ohrwurmverdächtigen, funkelnden Legierung von Hardrock-Hymnen!

Die schwedischen Heavy Rocker GREENLEAF haben mit ihrem neunten Album "The Head & The Habit" den vorläufigen Gipfel ihrer langen Evolution erklommen. Die musikalische Handschrift und Virtuosität von Gitarrist Tommi Holappa, seit mehr als 25 Jahren einer der Vorreiter und tragenden Säulen der europäischen Stoner Rock Szene, zeichnen sich deutlich ab. Die Gitarren werden perfekt ergänzt durch den gefühlvollen, intuitiven Sinn für Melodien und die charakterliche Tiefe, die der klassisch ausgebildete Sänger Arvid Hällagård dem Sound von GREENLEAF verleiht. Neben den erstklassigen Gesangslinien sowie den massiven Fuzz-Power-Riffs hat sich der Frontmann intensive Gedanken zu seinen Texten für "The Head & The Habit" gemacht, die weit über den Standard des oft klischeebeladenen Genres hinausreichen. Wie bereits der Albumtitel ("Der Kopf & Die Gewohnheit") andeutet, sind die neuen Songs als symbolische Kurzgeschichten angelegt, die sich um das Ringen mit Gefühlen bis zu psychischen Erkrankungen drehen. In Hällagårds Lyrik spiegeln sich seine Erfahrungen aus der Arbeit mit Menschen wider, die mit Sucht und anderen psychischen Problemen zu kämpfen haben. Die Heavy Rock Liebhaber GREENLEAF wurden ursprünglich als informelles Privatprojekt unter Freunden gegründet. Alle spielten bereits in anderen Bands, worunter sich so klangvolle Namen wie DOZER, LOWRIDER und DEMON CLEANER finden. Die Schweden suchten einfach nur nach einem Ventil für ihre gemeinsame Liebe zum Hard Rock und Proto-Metal der 70er Jahre, das frei von den Erwartungen und dem Druck ihrer Hauptbands sein sollte. Trotz der Absicht, GREENLEAF nur zum Vergnügen zu betreiben, führte die ungetrübte Freude beim Erschaffen eingängiger Songs dazu, dass ihr gesamtes Umfeld nach Aufnahmen von diesem Material verlangte. Dies führte schließlich zur Veröffentlichung einer selbstbetitelten Debüt-EP im Jahr 2000, der nur ein Jahr später das erste vollständige Album "Revolution Rock" folgte. Die Jahre mit wechselnden Besetzungen waren vorbei. GREENLEAFs stabiler Fokus wurde durch ihr fünftes Album "Trails & Passes" (2014) gekrönt, auf dem erstmals Arvid Hällagård als Sänger zu hören war. Dieser Meilenstein markierte den endgültigen Beginn einer neuen Phase der Band. Mit "The Head & The Habit" verbinden GREENLEAF nun das Bewusstsein für vergangene Triumphe mit reifem Handwerk. Die Schweden wissen, wie sie mehr als je zuvor stärker, härter und auf den Punkt rocken. GREENLEAF verschmelzen donnernde Riff-Magie, mitreißenden und mit Soul getränkten Gesang, frenetische Rhythmen und treibende Takt-Attacken zu einer ohrwurmverdächtigen, funkelnden Legierung von Hardrock-Hymnen!

Die schwedischen Heavy Rocker GREENLEAF haben mit ihrem neunten Album "The Head & The Habit" den vorläufigen Gipfel ihrer langen Evolution erklommen. Die musikalische Handschrift und Virtuosität von Gitarrist Tommi Holappa, seit mehr als 25 Jahren einer der Vorreiter und tragenden Säulen der europäischen Stoner Rock Szene, zeichnen sich deutlich ab. Die Gitarren werden perfekt ergänzt durch den gefühlvollen, intuitiven Sinn für Melodien und die charakterliche Tiefe, die der klassisch ausgebildete Sänger Arvid Hällagård dem Sound von GREENLEAF verleiht. Neben den erstklassigen Gesangslinien sowie den massiven Fuzz-Power-Riffs hat sich der Frontmann intensive Gedanken zu seinen Texten für "The Head & The Habit" gemacht, die weit über den Standard des oft klischeebeladenen Genres hinausreichen. Wie bereits der Albumtitel ("Der Kopf & Die Gewohnheit") andeutet, sind die neuen Songs als symbolische Kurzgeschichten angelegt, die sich um das Ringen mit Gefühlen bis zu psychischen Erkrankungen drehen. In Hällagårds Lyrik spiegeln sich seine Erfahrungen aus der Arbeit mit Menschen wider, die mit Sucht und anderen psychischen Problemen zu kämpfen haben. Die Heavy Rock Liebhaber GREENLEAF wurden ursprünglich als informelles Privatprojekt unter Freunden gegründet. Alle spielten bereits in anderen Bands, worunter sich so klangvolle Namen wie DOZER, LOWRIDER und DEMON CLEANER finden. Die Schweden suchten einfach nur nach einem Ventil für ihre gemeinsame Liebe zum Hard Rock und Proto-Metal der 70er Jahre, das frei von den Erwartungen und dem Druck ihrer Hauptbands sein sollte. Trotz der Absicht, GREENLEAF nur zum Vergnügen zu betreiben, führte die ungetrübte Freude beim Erschaffen eingängiger Songs dazu, dass ihr gesamtes Umfeld nach Aufnahmen von diesem Material verlangte. Dies führte schließlich zur Veröffentlichung einer selbstbetitelten Debüt-EP im Jahr 2000, der nur ein Jahr später das erste vollständige Album "Revolution Rock" folgte. Die Jahre mit wechselnden Besetzungen waren vorbei. GREENLEAFs stabiler Fokus wurde durch ihr fünftes Album "Trails & Passes" (2014) gekrönt, auf dem erstmals Arvid Hällagård als Sänger zu hören war. Dieser Meilenstein markierte den endgültigen Beginn einer neuen Phase der Band. Mit "The Head & The Habit" verbinden GREENLEAF nun das Bewusstsein für vergangene Triumphe mit reifem Handwerk. Die Schweden wissen, wie sie mehr als je zuvor stärker, härter und auf den Punkt rocken. GREENLEAF verschmelzen donnernde Riff-Magie, mitreißenden und mit Soul getränkten Gesang, frenetische Rhythmen und treibende Takt-Attacken zu einer ohrwurmverdächtigen, funkelnden Legierung von Hardrock-Hymnen!

UK/NL reeds player, composer and producer Finn Peters presents his new 10", Red, Green and Blue; The three track EP of Nu Jazz/Broken Beats is being released on the artist's own Mantella Records imprint and sees a return to solo recording (after a decade hiatus) for the award winning Jazz maverick, beloved of Gilles Peterson and fans of cosmic jazz.

Influences include Compass Point Records, Africa Bambaata, Yusef Lateef and Walter Gibbons. It is heavy sounding with MPC3000 and SP 12 drum breaks, heavy African and Brazilian percussion, ethereal flute choirs and analogue synths a plenty.

The Dutch-American legend Orlando Voorn is back on the block with a very, very yummy 4-tracker that is masterfully channeling his deep love for Detroit techno and Chicago house. “No Cellphones” recalls Green Velvet’s classic Relief Records sound, applying a sinister bouncer voice that commands everybody to put their f***ing cellphones away. It’s quite a tantalising idea to drop this tune at an Afterlife party. “Raise The Bar” is a primo minimal heater for prime time usage, classic Voorn intensity through and through. The flipside harbors two gorgeous, summerly house tracks with plenty of soul for those sun flooded festival floors. Orlando Voorn reigns supreme.

Die niederländisch-amerikanische Legende Orlando Voorn ist zurück mit einem wirklich sehr schmackhaften 4-Tracker, der seine tiefe Liebe für Detroit Techno und Chicago House meisterhaft kanalisiert. „No Cellphones“ erinnert an den klassischen Relief Records-Sound von Green Velvet, mit einer düsteren Türsteher-Stimme, die allen befiehlt, ihre f***ing Handys wegzulegen. Es ist eine ziemlich verlockende Idee, dieses Stück auf einer Afterlife-Party zu spielen. „Raise The Bar“ ist ein erstklassiger Minimalheizer für die Primetime, klassische Voorn-Intensität durch und durch. Die Flipside beherbergt zwei grandiose, sommerliche House-Tracks mit viel Soul für die sonnenüberfluteten Festival-Floors. Orlando Voorn liefert.

Grey White & Orange Vinyl. Mac DeMarco's debut full length, 2, released in 2012, cleaned up the songwriter's warped take on soft rock and brought it to a broader audience. Given DeMarco's affinity for keeping things lo-fi _ 2 was the first time he'd bothered to record demos _ it's revealing to hear these songs in their most embryonic form. The performances here are a little looser and the sound a little hazier than on the actual LP, lending an atmosphere of dreamy vulnerability, especially to ballads like "Annie" and the Lennon-esque "Sherrill."

Mick Harris is one of the world's greatest compositional treasures. Starting his career as the energy dynamo behind the drum kit of the UK's Napalm Death, he made the term Blastbeat a household reference, wrote the band's music on his mother's one string guitar, and joined the Guinness Book of World Records for composing the world's shortest song. In the decades succeeding, he has re-inventedmusic several more times, from the wild abstract jazz of Painkiller with John Zorn and Bill Laswell, to the drowning ambience of his Lull project, all while continuing to build a world that he can truly call his own - the dark post-dub of SCORN. "Reaching 54 this year - this won't stop the challenge, driving me more so now than ever" - says Mick Harris, commenting on the recent phase in his creativity. The pandemic isolation and lockdown pushed the work of the maestro more than anything else could have. In 2021, his output is ever-increasing, releasing the newest collabs with Justin K. Broadrick and the single "Distortion", featuring one of the most outstanding voices of hip-hop - Kool Keith - his closest collaborator, Ohm Resistance founder - Submerged. Commenting on the release of "Distortion", Mick Harris said to mxdwn: "I enjoy collabs - they bring something different to the swim." Working on his own and collaborating with everyone from Sleaford Mods' James Williamson, on the previous SCORN release or with Kool Keith and Submerged on "Distortion", Mick Harris never had problems with putting energy into beats and sound landscapes, combining various surreal elements with three basic elements that always push Harris further, that are extremely crucial for both Mick Harris and SCORN as a project - frustration, anger and anxiety. Combining the signature soundscapes of Scorn with tartareous textures, the newest album "The Only Place" reaches a psychedelic groove, based on what Harris calls "Pushing an original idea further" with his own shades of light and dark and celestial electricity of what SCORN is. These 10 new tracks add elements unheard in Scorn since Evanescense and Gyral - ethereal ambiences and floating, near-melodic-but-not-quite moments, a signature of Harris' abilities to generate feelings in a lost world of his own creation. 2024 vinyl version on orange coloured vinyl!

O. - das Londoner Duo aus Baritonsaxophonist Joe Henwood und Schlagzeuger Tash Keary - hat seinen furchtlosen Sound durch eine Residency in Brixtons Kult-Location The Windmill sowie durch Support-Slots in ganz Großbritannien und Europa mit anderen Schwergewichten wie Black Midi und Gilla Band verfeinert und ihre einzigartige Live-Energie nun in ihrem Debütalbum 'WeirdOs' destilliert.

'WeirdOs' wurde von Dan Carey produziert und zeigt Tash und Joe von ihrer rauesten und freiesten Seite. Auf 10 Tracks mit hochoktanigen Instrumentals, die live aufgenommen wurden, bietet das Duo alles von kathartischen Dancefloor-Drops über Jungle-Breakbeats bis hin zu vertrackten Jazz-Linien und schlammigem, bedrohlichem Doom Metal.

- Ltd. Col. LP: (White Vinyl)

On the eve of Drop Nineteens' first live performances in 30 years, we are excited to announce the reissue of the band's 1992 shoegaze masterpiece, Delaware. "Reissue" is slightly misleading as Delaware has never actually been issued on vinyl in the United States. Delaware is the debut studio album by American band Drop Nineteens released on June 19, 1992. Despite the albums release over 30 years ago, and the band remaining inactive from 1993 onwards this album has remained a favorite of shoegaze fans for decades, and was listed as one of the 50 best shoegaze albums of all time by Pitchfork in 2016. This lasting love of the record has cemented the band as one of the most influential bands of the genre from their time. Over the last several years the album has found a new audience that has championed Delaware along side of the band's mostly UK 90's contemporaries. A new legion of Drop Nineteens fans have likely discovered their music through streaming services, rather than on 120 Minutes. Tracks like the towering "Kick The Tragedy" and pop songs "Winona" & "Delaware" sit next to more experimental moments like "Reberrymemberer." And while the album is certainly a wild ride, it all flows together as easily as singers' Greg Ackell and Paula Kelley's vocals. Now for the first time, this record will be available via a USA pressing on yellow colored vinyl. Remastered for vinyl by Carl Saff the album will be available on June 21st.

Rich Ruth, das Projekt des Multi-Instrumentalisten Michael Ruth aus Nashville, macht ganz und gar eindringliche Instrumentalstücke, die zwischen fröhlich-abenteuerlich und beruhigend-meditativ changieren. Seine Musik beginnt in der Einsamkeit mit hypnotisierenden Loops und Drones als Grundlage für die Arrangements, die schließlich von einer eklektischen Gruppe von Mitwirkenden eingefärbt werden. Die daraus resultierenden
Erkundungskompositionen, die spirituellen Jazz, synthiegetränkten Post-Rock und kosmischen Ambient vereinen, sind oft betörend, schweben aber immer mit einer spürbaren Unmittelbarkeit.

Sein neues Album Water Still Flows ist sowohl sein schwerstes als auch sein kathartischstes. Mit sieben Songs ist die LP sowohl ein Dokument eines Künstlers, der die Grenzen seines Prozesses auslotet, als auch ein Beweis dafür, wie Songwriting eine persönlich erdende Kraft sein kann.

When it comes to musical performance, Charlie Bereal has done it all. Over the course of his 20+ year career, he's performed with and written for some of the greatest Hip Hop and R&B artists of our time (JAY-Z, Aaliyah, Snoop Dogg, and Missy Elliot to name a few). Now, he's shifting gears to focus on his career as a solo artist. On 5/10/2024, Charlie will re-release his second full-length record entitled 11-11-11 via Karma Chief and Colemine Records. Originally released in 2019, 11-11-11 was recorded over the course of a few casual hangs in Los Angeles. Charlie invited his friends Jairus Mosey and Raphael Saadig to join him in the studio and the trio started to jam. "We were just recording for fun - it wasn't for a specific project at first. Afterward, I listened back and decided to turn the best parts into individual songs." This flexible approach combined with Charlie's masterful production resulted in a soulful, psychedelic blend of original R&B. Think Sly and the Family Stone or Funkadelic. Charlie was born in Los Angeles and raised in Pasadena, CA. Musical talent runs in his family. He started performing at his grandfather's church at a very young age. "My grandfather was a pastor, and my dad was a preacher," he explained. "I started playing in the church band when I was 10, and I was drumming even earlier than that." When he was 16, Charlie and his brother Kenneth started making music professionally. He still works on music with his cousins on a regular basis. "I come from a very talented family. I can count at least seven family members who play professionally these days." Beyond the re-release of his second record, Charlie plans to record another album at Colemine's studio in Ohio. Stay tuned for more original music from this Grammy nominated legend.

KVAEN werden am 21. Juni ihr drittes Album und ihr erstes für Metal Blade Records veröffentlichen: The Formless Fires. Es gibt viele großartige Extrem-Metal-Bands in Schweden, aber nur eine aus Kalix. Dieser abgelegene schöne Ort nahe der finnischen Grenze, am nördlichsten Ufer der Ostsee, ist die Heimat von Jacob Björnfot, dem kreativen Mastermind hinter dem melodischen Black/Death-Metal-Projekt KVAEN. KVAENs "The Formless Fires" ist eine üppige, aber bissig-intensive Erkundung von Schönheit und Gewalt und ein melodisches Black-Metal-Meisterwerk, das ein inspirierendes Gefühl für den Ort vermittelt. Mehr noch als auf dem folkigen, Speed-Metal-lastigen Debüt The Funeral Pyre von 2020 oder dem fesselnden, expansiven Nachfolger The Great Below von 2022 werden die weiten Kiefernwälder und eisigen Seen in den elementaren, düsteren Riffs, kühlen Melodien und windgepeitschten Soli, die sich durch diese acht mächtigen Songs ziehen, kraftvoll beschworen.

Continuing from the release of Northern Soul Classics, this excellent value 2LP compilation brings together 40 essential tracks from a generation of artists inspired by gospel and rhythm and blues. Immerse yourself in the sweet soulful voices of Aretha Franklin, Marvin Gaye, Stevie Wonder, Nina Simone, The Supremes, Ike and Tina Turner and many more!

"What Occurs", is Islands' 10th album. It was recorded, mixed and mastered entirely on Vancouver Island, the birthplace of Islands' songwriter Nick Thorburn and his first record made on the island. The album functions like a collection of short stories, each song telling a different tale: A man steals a billionaire's painting, ("David Geffen's Jackson Pollock"), a woman is terrified of intimacy but great at dancing ("Arachnophobia"), and a lovelorn loser does everything wrong ("Drown A Fish").

Pride Month Barbie is an L.A. synth-pop duo formed in 2022 by solo artists Tyler Holmes and Josephine Shetty (aka Kohinoorgasm). As Libras, sluts, drama queens, and judgmental bitches, PMB brings a sound and performance that will leave you feeling insecure, horny, and annoyed. Inspired by early 2000’s celebutante culture, the films of Gregg Araki, and acts like Handsome Furs, Yaz, Light Asylum, and New Order, PMB brings a dark sense of humor to a candied electronic gloss.

Drawing from the indie pop culture of the 80’s, 90’s and early aughts, PMB harkens the bittersweet, nostalgic purity of early synth titans, parodies the current zeitgeist, and imagines a glittering future encompassing the dystopic and utopic simultaneously.

Shetty and Holmes met at San Francisco’s El Rio while sharing a bill as their solo acts in 2016. They remained adjacent figureheads in the DIY experimental pop underground of Oakland and Berkeley in the 2010’s and shared many bills, collaborators, friends, and mutual experiences amidst an underground network of eclectic baddies from SF to LA. They both have a prolific catalog of solo music and have performed and toured in art and music spaces across the US and Europe.

In 2022, Shetty offered engineering services while Holmes was working on an upcoming solo album at a residency in rural Northern California.

Upon wrapping, Holmes shared some of the electronic pop work they had made as a reprieve from their sad experimental music. Shetty was immediately eager to sing over the tracks and expeditiously demolished the demo with beautiful harmonies and hooks. PMB’s debut single was created almost on the spot. Shetty asked ‘did we just start a band?’

Schwarz, Grau und Silber dreigeteiltes Farb-Vinyl. Trotz der großen Aufmerksamkeit, die ihrem Durchbruchsalbum "Tramp" zuteil wurde, kehrte Sharon Van Etten ins Studio zurück, bereit und gewillt, eine neue Richtung einzuschlagen, tiefer zu gehen und ehrlicher und vulgärer denn je zu schreiben. Das Ergebnis dieser Bemühungen war "Are We There", ein selbstproduziertes Album von außergewöhnlicher Intimität, erhabener Genialität und immenser Kraft. "Are We There" wird dieses Jahr zehn Jahre alt und erweist sich erneut als eine ihrer kraftvollsten und zeitlosesten Sammlungen. Von den ersten Akkorden des ersten Songs "Afraid of Nothing' an ist klar, dass wir Zeugen eines neuen Bewusstseins sind. Van Etten in voller Fahrt schreibt, produziert und performt von einem Ort, der fast mythisch erscheint, wäre er nicht so greifbar und real. Stets direkt und selbst vor den persönlich schmerzhaftesten Erzählungen nicht zurückschreckend, handeln viele der Songs von scheinbar unmöglichen Entscheidungen, Vorfreude und dann Auflösung. Sie singt von der Natur des Begehrens, der Erinnerung, des Verlorenseins, der Leere, von Versprechen und Loyalität, von Angst und Veränderung, von Heilung und dem wahren Selbst, von Gewalt und Zuflucht, vom Warten, von Stille. Die Künstlerin, die mit einer solchen Stimme spricht, fordert uns auf zuzugreifen und tiefer zu gehen. Auf diese Weise bleiben die Fragen des Lebens lebendig, so nah und beständig wie der Atem. Inmitten all dieser wahrhaft brutalen Ehrlichkeit findet Van Etten Momente der Leichtigkeit. "Every Time the Sun Comes Up" hebt das Album am Ende an, vervollständigt die Welt, in die sie uns einlässt, und stellt uns sanft auf das ein, was folgen mag. Seitdem ist es zu einem unauslöschlichen Bestandteil von Van Ettens Live-Shows geworden. Es ist schon genug, seine Musik zu leben, ohne auch noch die Rolle des Produzenten zu übernehmen, aber Van Etten wusste, dass es an der Zeit war, ein Album zu machen, das ganz nach ihren eigenen Bedingungen entstand. Gleichzeitig erkannte Van Etten, dass dies nicht bedeutete, dass sie es alleine machen musste, und sie stellte eine geliebte, jetzt gefeierte Gemeinschaft zusammen, um ihre Vision zum Leben zu erwecken. Für die Aufnahmen fand Van Etten in dem erfahrenen Musikproduzenten Stewart Lerman einen verwandten Geist. Lermans Studioexpertise gab Van Etten die Freiheit, "Are We There" so zu machen, wie sie es sich vorstellte. Van Etten nutzte auch die individuellen Talente ihrer Band, bestehend aus Heather Woods Broderick, Doug Keith und Zeke Hutchins, und holte ihre Freunde Dave Hartley und Adam Granduciel von The War on Drugs, Jonathan Meiberg (Shearwater), Jana Hunter (Lower Dens), Peter Broderick, Mackenzie Scott (Torres), Stuart Bogie, Jacob C. Morris und Mickey Freeze hinzu. Der unvergleichliche Richard Swift arbeitete mit Van Etten am Endmix. Man könnte den Strom abschalten, alle Instrumente entfernen, und Sharons Stimme und Worte würden bleiben. Sie sind heute noch so kraftvoll wie vor zehn Jahren und sie werden sicher noch viele Jahre überdauern.

With powerful guitar riffs, soulful vocals, and grooving rhythms, The Mercury Riots have a unique and memorable sound. In February of 2023, they had recording sessions at the Warehouse and Armoury studios in Vancouver with legendary producer/engineer Mike Fraser (AC/DC, Metallica, Aerosmith). Mastered by Ryan Smith (The Black Keys, Greta Van Fleet) The Mercury Riots debut album “In Solstice” has a gigantic sound with state of the art production.

When it comes to musical performance, Charlie Bereal has done it all. Over the course of his 20+ year career, he's performed with and written for some of the greatest Hip Hop and R&B artists of our time (JAY-Z, Aaliyah, Snoop Dogg, and Missy Elliot to name a few). Now, he's shifting gears to focus on his career as a solo artist. On 5/10/2024, Charlie will re-release his second full-length record entitled 11-11-11 via Karma Chief and Colemine Records. Originally released in 2019, 11-11-11 was recorded over the course of a few casual hangs in Los Angeles. Charlie invited his friends Jairus Mosey and Raphael Saadig to join him in the studio and the trio started to jam. "We were just recording for fun - it wasn't for a specific project at first. Afterward, I listened back and decided to turn the best parts into individual songs." This flexible approach combined with Charlie's masterful production resulted in a soulful, psychedelic blend of original R&B. Think Sly and the Family Stone or Funkadelic. Charlie was born in Los Angeles and raised in Pasadena, CA. Musical talent runs in his family. He started performing at his grandfather's church at a very young age. "My grandfather was a pastor, and my dad was a preacher," he explained. "I started playing in the church band when I was 10, and I was drumming even earlier than that." When he was 16, Charlie and his brother Kenneth started making music professionally. He still works on music with his cousins on a regular basis. "I come from a very talented family. I can count at least seven family members who play professionally these days." Beyond the re-release of his second record, Charlie plans to record another album at Colemine's studio in Ohio. Stay tuned for more original music from this Grammy nominated legend.

Digipak w/ 12-pg booklet + sticker. Darwin is back! Follow-up to the critically acclaimed epic albums "Origin of Species" ('A prog rock masterpiece' - Classic Rock Magazine) and "A Frozen War" ('A rock tour de force with melody, shredding, and orchestral flourishes' - Prog Rock UK) Darwin, whose production is masterfully driven by Simon Phillips, expands on their trademark sound - adding new levels of depth and melody. The album features a stellar lineup of musicians. Bass sensation Mohini Dey joins the band, bringing her sophisticated and punchy low-end sound. Guitar maestro Greg Howe delivers some of his best playing to date across the album, which also features a beautiful solo appearance by Andy Timmons. Derek Sherinian and Julian Pollack (J3PO) add their keyboard wizardry across the tracks. Vocalist Matt Bissonette provides a rich harmony-filled performance across the various songs. Released on CD, including a special album cover sticker in the package

As the years go by, the ranks of Degiheugi's fans continue to swell: each time a new solid-gold disc is added to their already impressive discography, the result is a unique and impressive work in the French beatmaking landscape.

Endless smile, the sixth instalment, once again proves to be a great vintage, immediately limpid, but above all long in the mouth, charged with intense melodic persistence and loops that take the ear hostage.

And what a variety of aromas in the art of sampling: languorous strings, oriental flutes, bouncy brass, exotic percussion, intimate piano, samples of antediluvian blues or forgotten French chanson. This Grand Ouest varietal finds its perfect balance in a classic, timeless hip-hop spirit that runs like a red thread throughout the album.

When other beatmakers give in too quickly to the sirens of the dancefloor, Degiheugi always transports us back to his first hip-hop loves, for the pure pleasure of the “beautiful loop”. And he knows how to surround himself with the right people: his guests, whether faithful compatriots (Ghostown, Andrre, Astrid Van Peetersen) or newcomers (Ceschi, Josh Martinez), join in the party with high-flying featurings. The album title sounds like a prophecy: smile eternally as you listen to Degiheugi.

Panoram makes soundtracks for daydreams gone sideways. Picture the scene: an afternoon nap with the television on, quietly, in the corner; snatches of conversation drift in through the open window. Wandering, half-formed thoughts take unexpected detours; before you know it, there’s a movie playing out against closed lids, the colors bright, the characters unfamiliar. Accidental rhythms, incidental melodies, imitations of life, messages in code.

Across 17 fragmentary, sketch-like tracks, Panoram carves a labyrinthine path in which nothing is what it seems: a fantasy world of breathy vox pads, faux guitar, detuned synths, bursts of flute and orchestral percussion, and even the occasional cheeky cartoon sample. It’s chillout music with a chilly edge, ambient with a darkly ironic undertone. (The briefest glance at your news outlet of choice should be enough to confirm that the title—Great Times—ought to be taken with a healthy dose of skepticism.)

Panoram has been making music under his principal alias for more than a decade now, releasing albums on labels like Firecracker, Running Back, and his own Wandering Eye. (He has also performed and recorded with Amen Dunes, and has co-production credits on Amen Dunes’ forthcoming Sub Pop album Death Jokes.) Panoram’s output has ranged widely, taking in abstract pop, classical composition, twisted takes on library music, and cyborg funk. One record of “bio-acoustic transmissions” came with a cannabis leaf pressed in clear wax; his 2021 album Pianosequenza Vol. 1 gathers his experiments on the Yamaha Disklavier. But Great Times offers the truest picture yet of a project that has never been easy to pin down.

Loath to overshare details about his personal life, Panoram instead lets the music do the talking, using his cryptic tracks to express the slipperiest sorts of ideas—the thoughts that take root where anxiety, distraction, and the most fleeting traces of grace commingle. Panoram’s approach flies in the face of contemporary ambient orthodoxy, with its emphasis on immersion and uplift. Great Times expresses something thornier, more difficult to translate, yet also more tantalizing to contend with. Its 17 tracks offer a chance to get lost—and an invitation to remain in the maze as long as you like.

LP! is the fourth studio album from renowned Baltimore rapper JPEGAMFIA. Released on October 22nd, 2021 (his 32nd birthday), the album features guest appearances from DatPiMaa, Kimbra and Tkay Maidza. It received a great critical response from Pitchfork, NME, and more. The album thematically speaks to JPEG’s struggles within the music industry and staying true to his art, and is entirely self-produced like much of his work. JPEGMAFIA has established himself as one of today’s premiere contemporary and experimental hip hop artists, with over 1.5M monthly listeners on Spotify, and 500K+ Instagram followers. His fanbase is dedicated, excited and engaged with everything JPEGMAFIA does.

Two Italians step into the Bordello. Both are armed. Their weapons of choice? The synthesizer sounds of italo, new beat and wave. LVCA and Otis have been raised on the sounds of their homeland, adopting its analogue sound while adapting it to their own style. The result is a brooding mix of addictive lines and vocoder fire.

“Ritmo Electronico” opens with a steel-edged snare driving smeared synths through the city dusk, robotic lyrics menace this sleazy neon-stained scene of cracked mirrorballs and flaring machines.

Listeners are pulled into the underbelly of A Promise In The Cold Night with the murky “Tanzen”. Alex Vincent’s words are shrouded in glitch, bright burbling bars and a clean clap offering a path of light to help the listener navigate their way. The true coldness of the night arrives with the stabbing keys of “Synthesised Emotion”. Through a haze of hi-hats, an electrical smoke of blacks and greys fizz with juddering volts as passions pour through cable and wire. That haze grows thick in the close. Through a mist of distortion, a “Sphere Of Light” penetrates. Pin-pricks of percussion are dowsed in aquatic tones before a syrup of static is poured across proceedings, lost vocals ghost in this fog of bending bodies and forms.

Octave One continues to visit some classic Never On Sunday tracks with a second installment of their Messages From The Mothership series. This latest 12" finds the pair release two different Mothership mixes of 'The Bearer' and 'Contemplate'.

The pioneering Detroit brothers have shown a different side to their sound with the Never On Sunday project, both back when it was devised in the early nineties, and more recently when they have looked back over some of the project's key tracks and added a contemporary spin to them. Already this year the Burden Brothers have offered up new takes on 'Price We Pay' and 'A Better Tomorrow' as well as dropping brand new cut 'Mirror Image' and now their fine form continues on this latest release on their own 430 West label.

The A-side features a new Mothership Remix of 'Contemplate' from 2022 that unfolds over an epic 11 minutes of enthralling deep techno. The synths bring classic Detroit soul and the impassioned vocals layer in emotion to the sleek, compelling drums. The Instruments Version strips out the vocals and places more focus on the sublime rhythm and drums.

On the B-side, ' The Bearer' from the 2023 album Never On Sunday gets a fresh Mothership Dub. It is another masterful and almost 12-minute journey that rides on compelling drums and is lit up with a majestic vocal that soars up high while the warm, dubby undercurrents keep things moving in dynamic fashion and smeared cosmic synths bring a great sense of scale. A Mothership Instrumentals version closes out the package.
These are for more fresh perspectives on timeless house and techno fusions from the ever-innovative Octave One.

Repress! Now-Again Records is completing the trilogy started with "Forge Your Own Chains" and followed by "Tickets for Doomsday" with "Pale Shades Of Grey" - another batch of rare, largely uncompiled - and sometimes barely heard - heavy psych-rock. Pounding drums, scathing fuzz guitar and morose, contemplative lyrics will bring you up on a downer. "Pale Shades Of Grey," as the title hints, is and perhaps the most contemplative of the series, heavy on ruminations of dark themes of love, death, pain and triumph, as performed by high school and college bands, Brasilian intellectuals, Nigerian rockers and even an Irish pub band from Michigan. A unique and compelling listen, and surely a worthy companion for these times.

LP Ltd Edition CREAM Vinyl, DL card. Originally released in 2002 ‘Edge Of A Dream’ will be reissued on limited edition Cream vinyl as part of ‘Bert Jansch 80’, celebrating the enduring legacy of Bert Jansch’s peerless guitar playing and songwriting. Following ‘Crimson Moon’, ‘Edge Of A Dream’ is one of Jansch’s last studio records featuring original and traditional songs that are modal with his trademark bluesy and folk sound. It features some traditional reworkings including the lesser-known instrumental ‘Gypsy Dave’ with fiddler Dave Swarbrick and the stunning ghostly track ‘All That Remains’ with Mazzy Star’s Hope Sandoval. Known for his collaborations, ‘Edge Of A Dream’ sees Jansch accompanied by Bernard Butler, Ralph McTell, Johnny ‘Guitar’ Hodge’, Makoto Sakamoto, Paul Wassif, Colm Ó Cíosóig and Loren Jansch. “One of the most revered artists of his generation” Shindig. “Edge Of A Dream remains that period's most overlooked beauty, featuring some beautiful playing and some great collaborations” The Quietus. “Despite 40 years at folk’s vanguard, Jansch was still bright and inventive, as new generation of musicians embraced his music” Mojo

Wormrot's 2011 follow-up to 'Abuse' is about as far from "the difficult second album" as you can get, presenting an even more refined, stream-lined and dynamic take on their ferocious grindcore sound. Whipping past in less than eighteen and a half minutes, there's not a second wasted here whatsoever, and the trio's musicianship has been honed to perfection. The blastbeats are even faster, the riffs even heavier and vocalist Arif deploys an even wider array of shrieks, grunts, growls and barks this time. Whilst the addition of new drummer Vijesh in 2015 would take the band to even greater heights, this is arguably the original lineup's defining statement.

Neues Album der australischen Pop-Rock-Band Crowded House. Crowded House haben weltweit über 15 Millionen Tonträger verkauft und wurden mit einem Brit Award, 13 australischen ARIA Awards und einem MTV VMA ausgezeichnet. Die Band hat Milliarden von Streams generiert, beständig ausverkaufte Tourneen auf mehreren Kontinenten absolviert und fesselt ihr Publikum seit fast vier Jahrzehnten. Ursprünglich von Neil Finn, Nick Seymour und dem verstorbenen Paul Hester gegründet, wurde das selbstbetitelte Debüt der Gruppe 1986 mit Platin ausgezeichnet, angeführt von den Welthits "Something So Strong" und "Don't Dream It's Over", die von Miley Cyrus, Ariana Grande und U2 gecovert wurden.