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Following their critically acclaimed 2019 debut album Unfurl, Hidden Notes Records are happy to announce the release of the multi-award-nominated experimental/contemporary folk string duo Fran & Flora’s sophomore full-length album, Precious Collection. Released on Friday 12th April 2024, this album, produced by the duo themselves, explodes in myriad directions expressing the richness of the long-standing collaboration between Francesca Ter-Berg (cello/vocals/electronics) and Flora Curzon (violin/vocals/electronics). With Klezmer and Yiddish song as the predominant inspiration for the record, Precious Collection defies convention, featuring self-penned tunes and unique arrangements pushing their ground-breaking project beyond their virtuosic string playing. Drummers Ursula Russell (Snapped Ankles, Alabaster DePlume) and Simon Roth (Chris Potter, Alice Zawadzki, Adrian Dunbar) feature on the record on full kit and Ukrainian Poik (marching drum) respectively, and Francesca and Flora experiment with bowed cymbals, extended piano techniques, and samples of found sounds.The album was recorded in three different locations - Total Refreshment Centre (London), Big Jelly Studios (Ramsgate) and Great North Sound Society (Maine, USA). The music of Fran & Flora sits in two camps, both steeped in tradition, with material drawn directly from archival recordings, recovered manuscripts and years of study with traditional music masters, whilst simultaneously garnering a contemporary and avant-garde aesthetic, speaking to the more classical and experimental listener. Fran & Flora inject their source material with drones, loops, free improvisation and electronics to create a ‘border-defying’ (Mojo) sound. Their influences range across a wide spectrum of artists and composers from Silver Mt.Zion to Rhiannon Giddens, Lankum, Brìghde Chaimbeul, Colin Stetson, Adrienne Lenker, Shabaka Hutchings and Mica Levi. As string players Fran & Flora’s collaborations together and separately includes performing with the likes of Tom Skinner, Portico Quartet, Imogen Heap, Riz Ahmed, Sam Lee, Talvin Singh, Jocelyn Pook, Hannah Peel and The Vernon Spring. Within the global Klezmer community they have worked with Zoe Aqua, London Klezmer Quartet, Sashe Lurje, Craig Judelman, Merlin & Polina Shepherd and Frank London, and have taught at Klezmer music camps including at Klezfest London, contributing to ongoing research and revival work.

High Roller Records, picture vinyl, ltd 500, handnumbered, deluxe plastic bag, cardboard insert, Restored Roadster master! Transfer by Marcus Mossmann at PHONGRAPHIC ARTIFACTS, mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in March 2020. Cutting by SST Germany!

The nineties are often described as a hedonistic decade, a party decade when all arrows pointed upwards. In music culture, first things that comes to mind is the peak of club music, big-mouthed and drunken British rock bands, extreme Black Metal, and the high-energy "Scandi-rock" - a scene that the Euroboys members themselves were part of, in bands like Gluecifer, Team Spirit, Fair Fuck and Turbonegro. "Soft Focus" broke out from the noise after the nineties, and started introducing new vibes in the rock genre. With inspiration from the music scene that grew out of Laurel Canyon and California in the early seventies, Euroboys came up with a rock album that was soft on the edges, warm sounding with bittersweet melodies. Today, names like Fleetwood Mac, Eagles and David Crosby are of course gods on the retro sky, but it wasn't like that in 2004. This first time on vinyl reissue of "Soft Focus" has been remastered from the original tapes, and also features two bonus tracks that resurfaced in the process, mixed and released for the first time.

Formed in 2011 by drummer Drew Rizzo, Midnite Hellion took shape with the addition of bassist and vocalist Rich Kubik in 2016. The band entered Pyramid Sound Studios in Ithaca, NY in August 2019 with producer Alex Perialas (Anthrax/S.O.D, OverKill, Testament, Joe Bonamassa). Recording for Kingdom Immortal was completed in six days. The vinyl mastering was cut at Infrasonic Sound by Daniel Bacigalupi (Barry Gibb, Dolly Parton, Stray Cats, Willie Nelson). Midnite Hellion toured the US with Anvil in summer 2022 for 39 dates supporting Kingdom Immortal. The band has recently completed a second US leg with Anvil for an additional 25 dates in spring 2023. Kingdom Immortal contains eight brand-new cuts of New Jersey-style Heavy Metal and was produced by Alex Perialas (OverKill, Anthrax/S.O.D, Testament) and recorded at Pyramid Sound in Ithaca, NY. It was.

"Kingdom Immortal" by Midnite Hellion includes the following tracks: "Phantomland", "Speed Demon", "Army Of The Dead" and more.

”Road Runner” is the debut album by Gothenburg, Sweden’s Upploppet. A perfect mix between punk and rock, this electrifying 10 track studio recorded release pays homage to the old punk and rock ‘n’ roll legends while at the same time embracing the new. Upploppet injects a vibrant and youthful energy into their performance resulting in a release that’s equal parts fresh and vintage sounding. Filled to the brim with fast paced, guitar-driven tracks, ”Road Runner” is an 28 minute minute, hard hitting explosion that is destined please the rock-yearning ears of any fan of Turbonegro, The Sonics, Gluecifer, The Hellacopters, and New Bomb Turks, and other high octane acts. ”Road Runner” was recorded at Welfare Sounds. The album is produced, recorded, and mixed by Per Stålberg (Division of Laura Lee, Pablo Matisse) and Pontus Robertsson. Mastered by Hans Olsson Brookes (Bombus, Spiders, Graveyard, Blues Pills) in Svenska Grammofonstudion. ”Road Runner” is released by The Sign Records on vinyl and digital formats.

"Road Runner" by Upploppet includes the following tracks: "I Want To Love You", "Ibuprofen", "Thinking of me ", "Bombay Boogie" and more.

This version of the album comes as a 1LP on transparent red vinyl.

"What Lies Beneath" ist das zweite Studioalbum der fi nnischen Künstlerin Tarja. Ursprünglich 2010 veröffentlicht, ist es mit Hits wie "Until My Last Breath", "I Feel Immortal" und "Falling Awake" ein echter Fanliebling und bis heute eines ihrer erfolgreichsten Alben. Die 2024 Re-Issue ist als "2CD Deluxe Digipak" und, zum ersten Mal, als "Heavyweight 2LP Vinyl" (Gatefold, 180g, schwarz) erhältlich. Beide Formate bieten ein wunderschön restauriertes Artwork, und alle Tracks wurden bei Sterling Sound remastered.

Das macht die 2024 Re-Issue zum ultimativen "What Lies Beneath"-Erlebnis. Das 2CD Deluxe Digipak enthält außerdem 15 weitere Songs, darunter alternative Versionen, Single-Edits und Remixe. Viele davon wurden bis heute noch nicht physisch veröffentlicht. Außerdem enthält es den Track "The Good Die Young" von The Scorpions & Tarja, welcher ursprünglich nur als Bonustrack auf dem 2010er Ltd. "Dreamers" Boxset enthalten war.

15 Heavy Funk Rarities Presented As A Double LP Cold Heat is Eothen “Egon” Alapatt’s a follow-up to the famous Funky 16 Corners set he curated in the early 2000s. And like that one, Cold Heat is overflowing with great bits that had barely (or never) been heard by the rest of the world at large. Egon went through a range of rare singles, masters, and demos and came up with tunes that burn with a brightness that's undeniable. The grooves are all on the harder end of the James Brown Funky People side of the spectrum and some tracks are by names that finally got their due here, thanks to Egon, Now-Again, and some of the other funky forces doing the good work over the years.

After a successful tour following the release of "Alors quoi!" on Bongo Joe records, accompanied by a drummer/percussionist change, the prospect of what comes next naturally arose. Elements surfaced, including a desire for more low frequencies, a fascination with the marimba/vibraphone, and a liberating indifference to the difference between recorded and live performances. To evolve, the team collaborated with outsider Kwake Bass, known for collaborations with Kae Tempest, Tirzah, Mica Levi, and others. Despite aesthetic differences from Meril Wubslin's previous albums, this divergence was seen as key—an enriching risk that resulted in a unique blend of influences. The acoustic core of Meril Wubslin now embraces electronic elements, revealing a more powerful and urban dimension. While maintaining a commitment to French lyrics, the themes explore the concrete yet remain grounded in the intimate and the sensitive, avoiding overly clear and univocal messages.

The Madlib Invazion Music Library Series Entry #10: Motif Alumni (Rucker Collective) joins forces with Music Research Library, bringing together contemporary and futuristic cues inspired by motion and the passage of time. The Madlib Invazion Music Library Series was created by Madlib and Egon to give their creative friends a chance to stretch out and indulge in whatever type of music they wanted. This music was created for easy, one-stop clearance in film and television synchronization usage and for sampling. You can also enjoy these albums in the way that many do with the best of the best vintage library catalogs – listen, ponder, repeat.

In the enigmatic realm of electronic music, The Black Dog stands as a visionary act, responsible for crafting, among other things, the mesmerising album "Silenced". Notably, this release marks a significant milestone in the band's evolution, being the first album from the new line-up and their collaboration with the fledgling label Dust Science.

Defying industry norms, The Black Dog embodies a Do-It-Yourself (DIY) ethos. Their artistic journey remains steadfast, with a commitment to originality and creative freedom, unfettered by the limitations imposed by the commercial music industry.

The record label Dust Science takes pride in championing The Black Dog's musical prowess, with its first release being the band's 4-track EP "Bite Thee Back". However, this EP was only a prototype for the revitalised collective, eventually leading to the composition of Silenced, which followed soon after.

This creative period denotes a fresh start for The Black Dog, a testament to their resilience and a commitment to evolving their sound. The resulting album represents a new beginning, celebrating and transcending the echoes of the past. It redefines the band's sonic landscape and establishes a distinct musical narrative that resonates with dedicated followers and newcomers alike.

a A1 The Black Dog Trojan Horus Part 1 (Album Mix / Remastered) 00:05:42
b A2 The Black Dog Trojan Horus Part 2 (Album Mix / Remastered) 00:02:29














q D2 The Black Dog 4 3s 555 Part 1 (Album Mix / Remastered) 00:02:57
[r] D3 The Black Dog 4 3s 555 [Part 2] (Album Mix / Remastered) 00:08:16

[a] A1 Trojan Horus [Part 1] (Album Mix / Remastered) 00:05:42
[b] A2 Trojan Horus [Part 2] (Album Mix / Remastered) 00:02:29














[q] D2 4 3s 555 [Part 1] (Album Mix / Remastered) 00:02:57
[Part 2] (Album Mix / Remastered) 00:08:16

[a] A1 Trojan Horus [Part 1] (Album Mix / Remastered) 00:05:42
[b] A2 Trojan Horus [Part 2] (Album Mix / Remastered) 00:02:29














[q] D2 4 3s 555 [Part 1] (Album Mix / Remastered) 00:02:57
[Part 2] (Album Mix / Remastered) 00:08:16

US progressive metal band EXIST make their return this Spring with their fourth album, Hijacking the Zeitgeist, set for release via Prosthetic Records on April 12. EXIST’s latest full-length sees the group expand upon their established dichotomy of extreme metal technicality and sanguine atmospherics with an intentionally more concise approach to songwriting, resulting in the most direct and emphatic album of their 14 year career. Similarly to 2020’s Egoiista, EXIST took on a keen co-production role as recording sessions commenced in early 2022, with the band emphasising a collaborative approach to the songs arrangements. Drum co-production was handled by John Douglass (Mr. Bungle, Entheos and The Contortionist) before vocals were handled by Mike Semesky in the winter. Hijacking the Zeitgeist’s sonic heft isn’t without its diaphanous counterpoints too, as Phelps and new addition Charles Eron (guitar and synths) craft deceptively complex interplay on album high points in Thief of Joy (featuring Sanjay Kumar of Inferi and Wormhole), Blue Light Infinite and soaring closer Window to the All. EXIST’s sonorous sonic landscape is bolstered by immersive rhythmic lock-ins between Alex Weber (bass and vocals) and Brody Smith (drums), that shine in Anup Sastry’s mix and Kris Crummett’s mastering work. At the core of Hijacking the Zeitgeist lies a multifaceted exploration of algorithmic rabbit holes, conspiratorial paranoia, and the universal traits that lie within humanity - these cautionary tales are tied together in striking detail with album art by Sebastian Jerke. EXIST treats both the allure and perils of both digital mazes and the real world, with equal parts wide eyed awe and horror.

Influential proto Berlin techno from Effective Force, a duo consisting of former Clock DVA member Paul Browse and Johnny Klimek, ex bassist of German-Aussie New Wave act The Other Ones.

Produced in Berlin shortly after the fall of the wall, the EP draws on influences from the Industrial and EBM scene as well as the Occult and psychedelic research. Originally released as one of the first records on Mark Reeder's fledgling MFS records.

Poly Dance Theatre presents its new show: Warning: killer track! Let's start with side A: an international adventure. Backstage, we meet up with rico OBF, who has recorded MC Waraba, the Malian singer and pioneer of the "Balani show" for his forthcoming album on Blanc Manioc Records, at the dubquake studio. Still backstage, we come across androo, the little pictureditor hanging around, who offers to do a re-interpretation by re-creating a riddim from the vocal.

So here's poet rapper MC Waraba, singing in Bambara and French, telling us a story about a girl's difficult choices over a riddim made in androo.
The result is a strange, solid, bewitching and melancholy blend of dub, wave and drill trap music. The references are many and scattered, as always with androo (just take a look at his bedroom). After the pop-epic poem, dub mix versions unfold, from dub vocal, with reminiscence of the delay-cut poem, to deep, robust instrumental straight.

B side: Warning: killer track again! Warning: another kind of Wave-dub-trap. Warning: Identity is theft. Warning: Sound system style: 4 parts! Here, starting with a badly cut sample (against American transparency! long live Brecht!), we wander through a heavy chorus-stepper-weird-club-dub, ranging from the most pop to the most ruff, via the most experimental to the deepest. 4 episodes. One season. To see again and again. To play again and again (if need be).
4 episodes (Warning again: Sound system style: 4 parts!)
A series of versions in which the dub mix experiments and pushes the track to its limits.

Translated with deepl

Raphael Schön might still be best known for his Fiesta 2000 hit, but that ought to be changed with Heart Times. Hailing from Augsburg in Germany, RS represents a young generation of producers that draw their own deductions from golden days (insert your favorite era here) of dance music. Respectful and without handling it with kid gloves, he manages to inject fun, freshness and a fertile imagination into these sometimes dusty topics.

Conceived during a very emotional turbulent time for Schön, it is a showcase of his whole spectrum as a producer. Imagine a singer-songwriter coming back from his first rave. So, on this six-track EP for Running Back, his sound ranges from classic house (Baerhit) to crooner prog (Sometimes I Miss You), with mellow trance (Distant City Tranceport) and jiggy hits (Do You Like That) in-between. A dance hall unifying and colorful bouquet of flowers that does not shy away from vocals, emotional undertones and most of all bass and hook lines to die for. Schön means beautiful in German and that’s what this mean record is. Do you like it like that?

Here at Four Flies, we kind of feel we need a bigger word than 'proud', this time, to present, in collaboration with Beat Records, the first-ever release of the original soundtrack written in 1976 by Guido & Maurizio De Angelis for the legendary Squadra Antifurto, the second chapter of the comedy-infused crime saga directed by Bruno Corbucci and starring Tomas Milian as the iconic Italian Police Marshal Nico Giraldi.

The excitement in this case is nothing short of gigantic, difficult to rein in for those who, like ourselves, grew up adoring the character played by Milian as one of our cult heroes, and dreaming that the soundtracks of the first three films in the saga – the only ones composed by the De Angelis brothers – would one day be released.

Since the launch of our label, Squadra Antifurto has been at the top of the list of film scores we most wanted to release. Until a few months ago, this dream of ours seemed destined to remain just that, so strong was the conviction in all of us that the master tapes were definitively lost, that they had forever vanished into thin air. That's why their recovery, made possible by Maurizio De Angelis himself and the persistence of our friends at Beat Records, is an extraordinary feat.

Nearly 50 years after it was first heard in cinemas, the soundtrack penned by the De Angelis brothers is resurrected in its entirety and can finally shine its incredible power all over us.

Beautifully seeping through this score – like many others composed by the golden duo in the 1970s – are elements from the Italian, and especially Roman, folk tradition, for instance in the warm, heartfelt ballad sung by Alberto Griso, "E nun ce voio sta," which first plays in the opening credit sequence and is then reprised in various forms throughout the film, culminating with the soul-stirring orchestral version that closes the album's tracklist.

But as in any Italian crime film worthy of that name, a different soundscapetakes centre stage: it's the music that accompanies the countless scenes of tension, action, and pursuit that punctuate the film, and which has made us fall madly in love with this score.

The main theme is a prog-funk joyride, drawing inspiration from the traditional tarantella but elevated to irresistible energy thanks to a rock orchestration featuring psychedelic flutes, wild percussion, distorted electric guitars, piano chords, and various feedback and delay effects.

The resulting groove is just mind-blowing, and we almost can't believe it's finally available on a record, completely remastered for vinyl.

We really couldn't be prouder, and dedicate this release to all passionate fans of Italian crime films, the De Angelis brothers, and Tomas Milian aka Nico Giraldi.

Available starting April 12th on standard black vinyl and limited coloured vinyl (transparent amber, limited to 300 copies).

Gimme, Gimme, Gimme Desire, an everlasting grip of that youthful energy, that fire and fury you felt playing a style of music that gives you a lifelong addiction and appreciation. If you’ve once been part of that certain something, that became part of your identity, it never lets you go. Drummer Sascha, bassist Jan, guitarists Philipp and Tobias know how it is getting older but still feeling the fire. The four friends shook up the scenes out of Frankfurt in the 90s and 00s. They played in different bands, they toured Europe and the US of A, they were mods, punks, hardcore kids. And they never lost their connection and love for their music. That’s why they got together some years back, rehearsing and writing songs just for the heck of it. Out of pure desperation the four of them were thinking about staying a goddamn instrumental band, maybe working with projections and shit to fog the fact that there was something initial missing: a singer. The road was calling their names, and they wanted to play shows and let you and you and you know what they got... So, they gave it one last try to find somebody to fill the void behind the mic. What helped was a platform – basically Tinder for musicians – to find that certain somebody. They kept it simple and only dropped one thing: #blackflag. On the other side of the screen there is Sam, a mystical, ghostly punkrock fairy. Sam shares that same hashtag, and she wants to sing. So, why not give it a try? Sam takes the offer, shows up in the rehearsal space, and the rest is history. Sam owns it. Sam is prepared. Sam can sing, scream, kick ass and has the lyrics to back it all up! On different occasions they now set stages on fire. They played a sweaty show in a packed Molotow cellar at Reeperbahn Festival, they joined the “Female Fronted Is Not A Genre” festival at legendary SO36 in Berlin and took the place by storm. They are ready. They were born ready. And they have that record to prove it. As any classic hardcore/punk LP it’s almost over before it started. Ten songs in twenty minutes. That’s the way. I Am A God sets the tone: “You think that I’m a girl?”, Sam asks, “Let me tell you I am a god/ And you know that I’m heaven sent.” What else would Sam be? The legendary hashtagged Californian hardcore icons drip out of every note here. This is old-school knowledge, played today. Fast, furious, and packed with energy. But it’s way more than just a bland tribute. It’s a middle-finger that finds its own direction. Salary Man allows itself a certain amount of melody – also carried by Sam who obviously can do more than bellow. Or Somewhere that shows that The Pill is a more dimensional band that can even Hüsker Dü things up if they are willing to. The Bitter Pill presents itself surprisingly angular and kind of melancholic. And What’s New almost makes its way into post-hardcore territory. Inbetween Switch and Off give you all the Greg Ginn vs. Dez Cadena your damaged souls were desperately striving for. The debut album Hollywood Smile will be released on April 5th, 2024 by Hamburg’s Sounds Of Subterrania.

London-born-and-raised DJ and producer Parris has announced his new EP Passionfruit, which is to be released on 22nd March 2024 via his own co-founded label can you feel the sun. Following his stand-out 2021 album Soaked In Indigo Moonlight, described as a “masterful” take on the pop genre (Crack Magazine), Passionfruit continues Parris’ affinity for polyrhythms and bouncing synths, but diving deeper into his love for clubbing and UK soundsystems, the result is a heady house compilation.

Each track on the EP is in contention with the one before it, a counterpoint to a sonic argument; melodic bubbly pop against heavy drum and bass, morning rays of sunlight against dark and swampy rhythms. Where the title track “Passionfruit” was described by Parris as imagining the “early morning of a set with the sunrise coming through the shutters”, the very next track “Slipping, Falling, Crawling” is much like the title suggests: a sludgy, percussion-heavy track which has fun with creating melody from the beat itself, stripped back and raw intent.

“Why Can’t Rabbits Wear Cowboy Boots” and “Underwater Fantasy” are almost alternate universe club classics. “WCRWCB” takes a club-formed structure, and uses it to explore the limits polyrhythms, layering chaotically over eachother, and building through the first half of the track, until it peaks with the introduction of an explosive bassline. “Underwater Fantasy” on the surface is the straightest-sounding track to come from Parris, but the disco-style vocals fight with the beat, pushing and pulling at eachother.

Parris (aka Dwayne Parris-Robinson) has dedicated himself to club culture from an early age, never missing a week at FWD>> (the club night where a generation of bass and techno DJs made their names), and was constantly tuning into Rinse FM. Immersing himself into the distinct sound of London built the foundations of the productions we hear today, with grime and drum & bass bubbling alongside slick pop references.

Over the course of five albums, Manchester based trumpeter, composer, arranger and band-leader Matthew Halsall has carved out a niche for himself on the UK music scene as one of it's brightest talents. His languid, soulful music has won friends from Jamie Cullum and Gilles Peterson to Jazz FM and Mojo as well as an ever-growing international following. His new album Into Forever, puts the spotlight on Halsall the composer, arranger and producer. Halsall draws on a diverse range of influences from Alice Coltrane, Dorothy Ashby, Phil Cohran and Leon Thomas to the more contemporary sounds of The Cinematic Orchestra, Max Richter and Nils Frahm to deliver his most complete recording to date. Into Forever features renowned Manchester based soul poet Josephine Oniyama and rising star vocalist Bryony Jarman-Pinto (Werkha) as well as regular collaborators, flautist Lisa Mallett, harpist Rachael Gladwin, koto player Keiko Kitamura, pianist Taz Modi, bassist Gavin Barras and drummer Luke Flowers (The Cinematic Orchestra) and two percussionists Sam Bell and Chris Cruiks. The result is arguably Halsall's finest record, asublime melding of stripped back soulful funk and deep, minimalist, spiritual jazz, that will take you on a journey deep into forever!

PHANTOM OF THE AFTERS is the 3rd album from Irish rapper Kojaque, out on his very own Soft Boy Records. With landmark projects Deli Daydreams and Town’s Dead, that saw him 2x nominated for Choice Music Prize, receive support from Radio 1, 1xtra, 6Music, support Loyle Carner & Lana Del Rey and headline festivals across Ireland, Kojaque changed the rap landscape (and Irish culture) for good. Collaborations on his latest project include Biig Piig, Wiki, Charlotte Dos Santos and Gotts Street Park. The album traces blurred outlines of childhood trauma, depression, grief and love, interweaving the physical and emotional journey of central character Jackie Dandelion with bigger questions about immigrant identity, homesickness, cultural stereotypes and ultimately the reconciliation of self. Kojaque has created a cinematic-universe that is bigger in scope but also more tender and intimate in approach than ever before. It’s this willingness to be vulnerable - grotesque, even - that’s captured in the album’s iconic artwork, which subverts the bigoted depictions of Irish caricatures in 19th and 20th century Punch Magazine cartoons and sees this particular Phantom of the Opera remove not just those distorted masks, but also his own.

With songs that are cocksure and contemplative, brutally honest but also refreshingly myth-making, PHANTOM OF THE AFTERS marks a new era from Kojaque: one of his generation’s most unique talents. In suitably audio-visual style, the album traces blurred outlines of childhood trauma, depression, grief and love. It interweaves the journey of central character Jackie Dandelion from Dublin to London with bigger questions about immigrant identity, homesickness, cultural stereotypes and ultimately the reconciliation of self. It’s this willingness to be vulnerable - grotesque, even - that’s captured in the iconic artwork, which subverts the bigoted depictions of Irish caricatures in 19th and 20th century Punch Magazine cartoons and sees this particular Phantom of the Opera remove not just those distorted masks, but also his own.

The record drops alongside one of its more brooding moments, ‘WHAT IF?’: a soulful ode to anxiety, and the crippling impact of fear in moving forward in life or your relationships. “I’ve been obsessed with Charlotte Dos Santos ever since I heard her project Cleo,” Kojaque comments. “She’s just got such a distinct voice and sound. I sent the track over hoping she’d be into it and she sent me back a near perfect hook.” A fully independent artist, Kojaque has brought a stellar lineup of guests together on his latest work: from Biig Piig, Charlotte Dos Santos and NY rapper Wiki (who featured on ‘JOHNNY MCENROE’) to Gotts Street Park (‘BAMBI’) plus production credits such as Calvin Valentine (Ryan Beaty), Tony Seltzer (Eartheater, Freddie Gibbs) and Karma Kid (Hak Baker, Shygirl).

PHANTOM OF THE AFTERS will see Kojaque continue to blaze a trail around the world. He first came to prominence with the genre-bending concept record Deli Daydreams: it became the first mixtape to ever be nominated for the Choice Music Prize, and demonstrated his prowess not only as a polymathic artist, but DIY label-head (co-founding Soft Boy Records, which was subject to a Boiler Room documentary) and visual artist (Kojaque has received a prestigious Royal Hibernian Academy Award for his film-making). Even as the rest of the world sat up and paid Irish Art some long-overdue attention, Kojaque’s creative output has remained thrillingly uncompromising. Tour-de-force debut album Town’s Dead examined everything from gentrification, masculinity and mental health to a gnarly love-triangle unfolding on New Year’s Eve, held together by a multi-hyphenate attitude. Once again nominated for the Choice Prize, Kojaque played a sold-out UK & European headline tour around the restrictive local lockdowns, with the album landing additional support across the likes of Radio 1, 1xtra, 6Music, plus shows with Lana Del Rey and Loyle Carner (who also sampled Kojaque on hugo). With his landmark projects to date, Kojaque changed the rap landscape (and Irish culture) for good. On PHANTOM OF THE AFTERS, you sense he’s just getting started.

Vana is a true Estonian lowkey gem, a duo (Ajukaja & Edith Karslon) who deal boldly with pop music clichés. On their debut 7” they cue up a track by beloved 80’s Estonian beachtown band to give it some new attire. A version & context of their own. They manage to lift a pseudo reggae track to present day & make it resonate here & now. Easy does it.

The B–side sees Vana on a pop trek. “Kuu Maa” is a real heart melter with its dreamy vocals, arousing piano line, guitar licks & funky bass. Grab that dictionary to catch each & every chunk of emotion on here. Or just let it slowly sink in. Lets go!

10" in top-on sleeve, limted to 300 copies. Yiri Yiri! BOOM! A year and a half after their debut for Sdban Ultra, Brussels-based afrogroove formation M.CHUZI returns with a stunner of an EP.Yiri BOOM! offers a variety summery sauces to assaison this spring with a refreshing sound, catchy songs and some catchy features.



Captivated by a musical residency in Benin, this time the band relocates to the Black Atlantic, with the agogo bell as their guide. Literally, because in "Mojo Picon", drum legend Stéphane Galland actually performs a solo on cowbell. A world's first. Together with singer Vanesa Diaz Gil, M.CHUZI travels from the Canarias to Cuba with an innovative cover of the Cuban mambo classic "Yiri Yiri Boum". Following in the footsteps of this iconic song, the Brussels gents finally cross back across the ocean in the danceable "Pepper Sauce", in which the heyday of Fela Kuti's afrobeat resonates with an irresistible guitar riff, a rippling bass, a rousing shuffle groove and punchy horns.

With his debut EP Mo Wrights delivers a jazz-focused and narrative-driven record navigating the inner dialogue of a creative struggle of inferiority, abstraction and commitment. The story finds him enlisting some friends along the way to advance from one act to the other.

With the title track - ‘things2proof’ - Mo tries to combine his myriad of influences in a 6-minute record that weaves together elements of jazz, broken beat, acid jazz, fusion, hip-hop and hints of rock. The coherence comes from his poignant narrative, which resembles a four-act structure, telling the story of alienation and his internal experience of inferiority, creative frustration, and his eventual recognition of a solution, concluding by finally permitting himself to simply ‘be’. And for that we thank him!

The b-side ‘proof of concept’ follows the title track, Mo embraces a more laid-back approach, sitting sonically closer to his beloved broken beat sound. Amsterdam-based pianist Misto Kay delivers a long soul-felt piano solo that carries the track into untold dimensions of groove. With this offering the soul feels both heard and yearned for. It’s as if desire and satisfaction are in conversation with one another. You can’t help but be gripped, pay attention, and listen.

As a co-founder of the Amsterdam-based music platform Steppin’ Into Tomorrow, whose ethos is anchored in the principle of collaboration and unification of the Dutch scene is a deeply felt sentiment throughout Mo’s EP. He enlists a slew of emergent local legends, such as QUANZA, drummer Jamie Peet, flutist Han Litz, bass player kotokid and pianist Misto Kay to embellish and remix his creation. The remixes also illuminate other bright creatives the local scene has to offer, with remixes by the likes of - Kofi the Unknown, LYMA, Misto Kay and Jazz n Dance.

Emotional Rescue dives back into one of its specialties, the formative years of Post Punk and Dub influenced music, presenting the, to date, unheralded Skinbat Scramble. The rarity of the unknown, the discovery of rich, lost music, it is a delight to release a compilation of the band's previously unreleased recordings. A snapshot of time, a journey that covers several decades of friendship but is concentrated here on the fertile 80's scene.

Forged around the friendship of Mark Eason and Fergus Crockford, but with ever changing line-ups, flowing in and out during misspent youths, self-taught playing, falling in and out of bands, travelling that well-worn journey from Home Counties boredom to the excitement of a rough edged London, taking in as music as possible, from Motown on to the The Velvet Underground, The Rolling Stones, Bowie, Pink Floyd, Gong and Fripp & Eno, before Dr Feelgood, Eddie & The Hotrods and a dose of John Peel led to discovering Dub and Punk and witnessing that short-lived burst of creativity at the Roxy Club, Marquee or Vortex and exploring back to early Rock'n'Roll, Rockabilly and old Surf'n'Soul, alongside the likes of Wire and Suicide.

As the Post-Punk sounds mixed simultaneously with Two-Tone, local Art College gave way to university and the early struggles of finding a way in the late 70s / early 80s of Thatcher's Britain. Music was central, Skinbat Scramble finally appearing, morphing from numerous teen bands, early studio excursions of tape loops and effects leading to the first recording sessions in 1981.

The slower tempos, introspection, open structures, and shimmering experimentation of Post Punk were pivotal. John Foxx's early Ultravox, Siouxsies' "Lord's Prayer" period and The Electric Chairs seminal "So Many Ways", influenced to a freer future. PIL, ACR, Section 25 and Pink Military let imaginations briefly roam.

'Far out and weird', those first recordings made at Leeds Uni's Fine Arts Dept utilized Revoxes, Tandberg, MiniMoog and even a borrowed drummer. This was followed up with completed sessions at Elephant Studios in London, forming the basis of this compilation.

The tight scattergun rhythms on opener Submit, in both Vocal and short Dub mix, bely an unreleased band. Taught and crisp, it's like a song you've heard propelling open-minded, leftfield dancefloors for years.

The writing, musicianship and studio mastery displayed on North By Northwest and Skiddadle should not be music unreleased for almost 40 years. In North Dub and closer, Pixie Boot Dub their understanding of the opportunities of dub Reggae are clearly apparent, ethereal music wormholes for late night smokers.

However, it is in Basement Voltaire that the band step out time. Recorded in 1986 this is a 9-minute proto-techno wonder that mixes all their psychedelic meets punk youth in a crescendo of crashing claps and rolling toms that is of a time and so far ahead of its time.

And that was that, after 6 gigs, including a couple at the infamous St Martins, to an audience total you can fit on one hand, the band's first incantation closed and the master tapes were stored for several decades, waiting for "The Psychedelic Pirates" to finally surface.

The "ongakudō / droga muzyki" project is ("The way of music" in English). Initiated by Groh - head of the JuNouMi label (est. 2002 Polish hip-hop label), the project is the result of cooperation between Polish and Japanese artists.

First, Twardowski created music based on samples from Japanese albums. Then MCs KANETSUGU (JP) and Prykson Fisk (PL) were invited. The next element were DJs - 1an from Tokyo and DJ Eprom from Warsaw (former IDA world champion).

An important element of the project is the graphic design, for which Małgorzata "Mauko" Korczak is responsible - exploring the art of Japanese Shodō calligraphy. As many as three versions of covers were created. One limited edition (hand-numbered 100 pieces), a version with a black wax and a version exclusively for the Japanese market.

This 7" is the first part of the Polish-Japanese series. It is the beginning of our journey.

Revision of new beats on the horizon
Every 20 years or so, certain musical movements come full circle. Young musicians are inspired by genres dating back two decades, channelling them through their modern sensibility. The legendary J Dilla’s Donuts album was released in 2006 and instantly marked a starting point for the work of musicians worldwide, laying the foundations especially for the beat scene in Los Angeles. A whole young generation of musicians brought up on the new, instrumental and abstract hip-hop has carried jazz into a new era. The four London-based musicians who make up Uniri have gone one step further by abandoning the idea of a jazz band and "bedroom production" in favour of collective composing, creating a new look at the new-beat aesthetics, framing it as a road novel set in an unspecified time and space.

Uniri translates as ‘one unified dream’ and is the key driving motto of the project conceived by Chiminyo (Cykada, Maisha), the band's founder and head honcho. The project materialised in his private studio, where he invited fellow jazz musicians Amane Tsuganami (Jorja Smith, Maisha), Al Macsween (Nubya Garcia, Gary Bartz, Kefaya) and Luke Wynter (Nubyan Twist, Golden Mean) to spontaneously compose together. Hence, despite this being the band's first album, it wouldn't be right to call them rookies. The result of Uniri's collaborative work is the psychedelic, rhythmic album Infinite Reflections, packed with cosmic and warm synths, which neatly balances hip-hop beat and jazz composition. It's safe to say this music is even more appealing when played live, although it's equally suited to the club dancefloor.

UK Jazz has become a permanent fixture in the London landscape, but also across Europe and the US. Today, the musicians who shape the new wave of jazz are drawing on more and more genres, reducing solo improvisation for the benefit of composition and increasingly drawing on influences from the beat scene. Among such formations are the British NOK Cultural Ensemble, the Polish Błoto, the Belgian ECHT!, and the Dutch Comité Hypnotisé. Uniri is part of this emerging yet already international trend, creating an entirely fresh aesthetic that echoes artists such as Flying Lotus, Samiyam, Dorian Concept, Ras G and Nosaj Things oriented around the Californian 'new beats generation' scene.

The title Infinite Reflections alludes to a phenomenon observable on the open sea or during intercontinental flights. Gazing at the horizon blurs the boundary between the ocean and the sky, forming an infinite palette of blue shades. This inspiration sparked an elusive musical narrative, navigating between a sea voyage and an astral journey, destination unknown.

Jamwax presents the resurrection of a hard-hitting space synth masterpiece that's set to ignite your senses and shake the very foundations of sound systems worldwide. 'In Ting Sound' is a sonic juggernaut, a hard-as-nails sound bwoy killer that refuses to be confined to the constraints of time. With its pulsating beats and infectious rhythms, this track commands attention from the moment the first note hits. But it's the heavy drums that truly set it apart, pounding with relentless force and driving the groove forward with unstoppable momentum.

Get ready to embark on a sonic journey like no other as this reissue comes with three exclusive unreleased tracks :
'Mandela': Feel the pulse of liberation with this uptempo digital killer, featuring Winston's impassioned plea to "Free Nelson Mandela...he never done no wrong, he is just a conscious man..."
Let the rhythm of justice resonate as you groove to this powerful anthem of freedom. 'Life All Over': Flip over to the B-side for a digital roots tune that- hits hard with its strong bassline and conscious lyrics. "Life AllOver" dives deep into the essence of existence, delivering a message of hope and resilience that reverberates with every beat. 'Finnegan' aka 'Life All Over Dubwise': Prepare to enter the realm of dub mastery. The second part of "Life All Over" takes you on a journey through the echoes of space and time, where the music transcends boundaries and the spirit of dub reigns supreme.

About Winston Fergus : Winston Fergus, a stalwart of the UK reggae scene whose career spans over four decades. Winston kickstarted his journey in 1976 as the vibrant lead singer of The Equators, renowned for their iconic track 'Father Oh Father' released under Joe Sinclair's esteemed Klik label. Not only did The Equators make waves in their own right, but they also provided the musical backdrop for rising star Pablo Gad, solidifying Winston's reputation as a mentor in the industry.

In 1977, Winston ventured into solo territory with the soulful release 'Give Me Love' on Jah Jah Bus, marking the beginning of a prolific solo career. Lightning Records recognized his talent and signed him, resulting in the release of 'African Woman'. Throughout the '80s, Winston remained a prominent figure, collaborating with luminaries like Clement Bushay, Clive Stanhope, and John Dread, producing hits such as 'Jezebel Woman', 'Keep On Dancing', and 'Hope For The World'.

In the late 80's, Winston's entrepreneurial spirit led him to establish his own imprint, Fergie Music label, marking a new chapter in his illustrious career.

Octave One stride into 2024 with a fresh four-track EP that once again showcases their unique take on techno with three new versions of classic tracks alongside an all-new cut.

Detroit's legendary Burden Brothers had a big 2023 that saw them release their superb Never On Sunday album, which was a nod to their 90s downtempo project of the same name. The bumper collection traversed deep techno, house, and tech in their usual inimitable style while the pair themselves continued to push techno forward with their incomparable live show at the world's most notable clubs and festivals. They now show that their creative reserves continue to run deep with four more essential tracks.

The first one is a new Mothership Remix of 'Price We Pay' with long-time vocal collaborator Karina Mia. The original appeared on Never on Sunday and this version comes on strong with vast rubbery kicks powering a deep and seductive groove. Muted synths roam down low while twinkling melodies fall from above next to the controlled, soulful vocal. The superb 'Mirror Image' is a new track that rides a heavy broken beat. Downtempo chords are melancholic but stirring and have a dramatic sense of finality to them.

'A Better Tomorrow' also gets a new Mothership Mix following its original release on the Burn It Down album back in 2015. Here it is a surging cut with funky guitar riffs and bleeping synth sequences that bring to life the thundering low end. It's a hi-tech and soulful fusion of the organic and the synthetic that will blow the roof off.

Last of all is a Mothership Instruments version of 'Price We Pay' that powers along on thudding drums with edgy synth stabs riding up and down the scales. Deft keys shine and twinkle and signature Octave One arps break out at the midpoint to take things to a higher level.

These are four more classic techno sounds steeped in great synth craft from The Burden Brothers.

Repress!

The debut album from soulful electronic pioneers Little Dragon originally released in 2007 was initially a record
slept on as no one in their right mind would have expected the future of soul music to come from Gothenburg,
Sweden. But there it is in the dreamy, rhythmical, shifting, moody rainbow creature that is Little Dragon. With
hindsight it is easy to see why some of the world’s top musical luminaries went onto fall over themselves to work
with them.
Includes the must own classics “Twice”; a master class in low key pop, with a sparse piano line offset by classy
strings and woozy synth wobbles; it is restrained, but never detached (over 100 million streams across multiple
DSPs) and “Constant Surprises” where Yukimi’s delicious vocal skips and glides atop hi-hats and bubbling bass
laying down the bands distinct soulful credentials (30 million streams).

When Bob Vylan won the first MOBO award for Best Alternative Music Act in 2022, the punk-grime duo took to the stage and used the platform to speak about how they managed to achieve the impossible as independent artists in a genre-defying space. “We released an album this year that we produced entirely, mixed entirely, recorded entirely, all from my bedroom…so everybody that’s here, bigging up Atlantic and bigging up Warner, fuck that, us man did it ourselves”.

It was an acceptance speech that rattled the room and built anticipation for their next projects.

Humble as the Sun, the forthcoming album from Bob Vylan continues with much of the rage and urgency that they have come to be known and loved for, but this latest project shows that they are now stronger and wiser, bolstered by the wins and learnings that they have fought hard for along the way. The resulting tracklist aims to leave the listener feeling power alongside their anger, and brings a fresh and compelling blend of punk, rock, grime and rap together in an experimental way.

Following on from the last album, Bob Vylan Presents the Price of Life, the message woven throughout Humble as the Sun remains dark in places but is high-energy, defiant and unapologetic in its critique of a broken social and political system that so many have fallen victim to, but feel powerless against.

This album is for the underdogs, the ones who come out swinging and those who refuse to be defeated in the face of injustice, and aims to remind listeners that anger is a fire that can be harnessed and put to use. The album creation started from a conversation with the sun, which is, after all, a big ball of fire that sustains life.

From masculinity to myths about the G Spot, the themes and topics explored on Humble As The Sun make for an often humorously empowering celebration of the peoples ability to endure, overcome and bring about change.

The lyricism on this album is even more layered than their previous projects, still darkly humorous, anti-establishment and unforgiving but at times pauses to deliver much-needed words of afrmation to listeners, “You are loved. You are not alone. You are going through hell but keep going.” Bobby assures the listener, ofering an antidote to the state of the world, aiming to give some power and agency to those who hear it. At a time when so little trust or faith exists between the people and the powers that be, Bob Vylan ofers out a hand in the despondent darkness that has overwhelmed so many in the shadow of a burning planet. They guides the listener to a place where they can see some light and feel empowered to do something, to fight back, to continue pushing forwards despite the challenges faced along the way.

Mixing all of the best quintessentially British - and Jamaican - musical elements from punk to drum and bass, grime and rock, Bob Vylan creates a sound that reflects the state of the nation, at once voicing the frustrations that normal people have, while also highlighting one’s ability to persevere, overcome hardship and to change.

Guests are Jessica Higgins and Matthew Walkerdine of Glasgow, UK, both formerly of the bands Vital Idles and Mordwaffe. They have been closely tied with DIY music, art and publishing for over a decade. Using (amateur) electronics, singing, speaking and field recording they make songs which blend the rhythms of popular music and contemporary approaches to collage, sampling, improvisation and repetition. As inspired by film and art as they are the legacies of twee underground and avant garde experimentalism, their loose, domestically twinged compositions explore feelings, atmospheres and moments which are hard to articulate and the quite literal notion of being a “guest”.

“I wish I was special” is their debut record, and with it a chance taken to explore terrain not previously covered by their other groups. The ideology of DIY practice appears integral to these eleven compositions, side-stepping virtuosity in favour of instinct and impression, unafraid to press unknown buttons and walk head first into mistake, finding inspiration where convention might not otherwise allow one to tread. The results are confoundingly fresh, sharp-of-mind, and unusually intimate. There’s an obvious intelligence at play here, and no little humour of course, but crucially there’s also a sense of the personal, a first-thought/best-thought (auto)didacticism that celebrates shared understanding and implicit trust. What, ultimately, we might view as the fearlessness in radically being yourself around another. It’s an approach that draws some comparison with the private musings of Flaming Tunes, Idea Fire Company’s domestic electronics, or perhaps even Annea Lockwood’s framing of emotional connection within avant garde structures. More so, Guests represent a compelling continuation of DIY post-punk experimentation that values intuition over prowess, and with it guides the listener into unexpected spaces that somehow comfort as much as they challenge.




d Arrangements, as in Making Them [VIDEO]

A live act renowned for their free improvised performances, BIOS have markedly changed their approach since the debut release Fluorescent Minerals five years ago. To serve as a reliable basis for improvisation, the duo began to play with prearranged themes. Far from being limiting, on Powers of Ten these foundations become structures that are as full of change as they are playful. A single track can seem like a medley moving through sections of drama // reverie // fun without dwelling too long on either so as not to be at the expense of the whole. Fractured yet coherent, these emotions are professed in utmost seriousness and also half in jest.

Powers of Ten also marks a change in sound >> a new prominence given to rhythm and melody. Both members of BIOS claim not to listen to dance music much, but incidentally what they achieve on their new record is a kind of evermoving anxious dub. Its energy endures even after the rhythms and motifs dissolve in distant soundscapes, so that those too seem genuinely kinetic.

If the listener decides to follow this movement, they will be led on a journey into the record, framed and imagined as a quest through parallel variations of one environment. Powers of Ten is a decidedly adventurous album >> a spatial and hypnotic work of music composed by graphic designer Jozef Tušan and visual artist Boris Sirka, and the eighth release by the label Weltschmerzen.

Having built a loyal local Antwerp following off of the success of their 2019 debut self released album, ‘Forgotten Kingdom’, and growing reputation for electrifying stage performances, Kolonel Djafaar achieved worldwide recognition in 2021 for the ‘Cold Heat’ EP on Batov Records, attracting praise from Music Is My Sanctuary (“triumphant), and support from Gideon Coe on BBC 6 Radio Music, and DJs across Worldwide FM, Soho Radio, Le Mellotron, and KEXP.

The group overcame busy schedules and frequent quarantine periods to hit the studio in February 2022 to lay down four tracks. However, the creative itch persisted, leading to an intense writing session in August, deep in the heart of a tranquil forest. From noon until midnight, the band immersed themselves in the creative process, embracing the freedom to make noise without restraint.

Fueled by hearty breakfasts, unwavering focus, and the ambient clucking of chickens roaming the studio, Kolonel Djafaar crafted the majority of ‘Getaway’. This period marked a pivotal shift as a number of new band members joined just in time for the August sessions.

Membership changes, including Emiel Lauryssen joining on trumpet, alongside guitarist Philip Matthhijnssens, the band's palette has broadened and new sounds are able to break through. From psychedelic rock and soul influence of the Daptone Records’ affiliated Budos Band, surf rock (“Urban Dweller”), Morricone Spaghetti Western guitar, and Afro Cuban (“Kelmendi”), alongside the brassy Afrobeat and Ethio jazz vibes the group have been known for.

The broader dynamics of ‘Getaway’, and the band’s more cinematic and experimental approach, is particularly apparent on "Siren’s Glitch" and "Phil’s First Tear". The latter, first conceived by drummer Anton Van Hove, features the lead guitar doubling up with the bass guitar for added impact. Whilst the origins of "Convoi Exceptionnel", a brass & synths stomper of a march, trace back to a jam session during the band's Hungarian tour, another vital period of prolonged time together, capturing the organic essence of their experiences on the road.

Each track on ‘Getaway’ holds a unique connection to at least one band member, and all benefit from a collaborative approach to songwriting. "Sparking Clover'', an Ethio-inspired psych & soul groover penned by tenor saxophonist Doyin Smith, carries a poignant undertone inspired by personal loss, while psych rock leaning tracks like "Apologies in Advance" showcase the band's evolution and increasing professionalism in crafting a distinct sonic experience.

The curious cover art depicts a lone individual heading down an empty city street towards a large mysterious glowing object, evoking the common emptiness and struggle of urban life, and the search for meaning or just something better. The band envision the object to represent this album, offering a beacon to like-minded listeners. Kolonel Djafaar invite music enthusiasts on an immersive journey, to ‘Getaway’ from the daily grind of life, on an album reflecting diverse influences and marking a new chapter in their musical exploration.

If 2022’s The Children Of Scorpio was the debut album that turned people onto the world of Project Gemini aka Paul Osborne, Colours & Light is the body of work that will be buried deep into their hearts. It is a majestic album, bringing together the worlds of folk rock, psych soundtracks and hazy cinematic funk.

A growing confidence and ease emanate from the writing and production of this sophomore LP, bolstered by the reception to his standout debut. “It’s a more layered and diverse record” Paul mentions, “with a more outward-looking, global sound, born out of the records I was listening to and the musicians I was lucky enough to collaborate with”. It feels relaxed yet self-assured, with a kaleidoscope of sounds that twist together in a mesmerising fashion.

The theme of the album developed naturally through the lyrics Paul began writing. A creative process both plagued and fed by insomnia, nourished by relationships, entwined in emotions, nights out, nights in and the after-effects on the human condition. Relatable themes yet seen through the prism of a soundscape that takes in many a different culture and scene. From acid folk to psych-funk, Francophile elements to Anatolian and Eastern inspirations, all interlocking and rotating as one.

Drawing inspiration from those he admires, Colours & Light radiates with collaborations. The title track, which tips its hat to a live 1973 TV version of Pentangle’s ‘Wedding Dress’, features the folk rock, guitar brilliance of Jack Sharp from Wolf People/Large Plants.

Elsewhere, two tracks are blessed by the sultry, smokey French vocals of Gloria’s Wendy Martinez, ‘Extra Nuit’ and ‘Entre chien et loup’. The former echoes Paul's love of classic French psych-pop from the late ’60s and early ’70s and artists such as Laurance Vanay, Calcium, Leonie, and Serge Gainsbourg. Martinez's sublime vocal work nestles perfectly within Paul's psych-folk-funk productions, as her Gloria partner, Alexis Morel (aka Kid Victrola) sprinkles a dose of entrancing guitar line magic on proceedings.

The list of collaborations extends further with Raz and Markey Funk, drummer Tony Coote and percussionist Paul Elliott all featuring. Regular collaborator and underground icon Barrie Cadogan (Little Barrie) returns along with Bert Page from The Cromagnon Band, who between them provide a hit of whacked-out, fuzzed-up country guitar and Moog madness respectively on ‘Lost In The Woods (Bacchanal)’.

Rounding off the record Paul’s daughter, Olivia Osborne, supplies the keyboard intro on the penultimate track ‘Twilight’. Dorian Conway from The Soundcarriers (whose bandmate Paul Isherwood returns on mixing duties) then layers echoing heavy flute parts to magically capture the psychedelic sunrise images brought to mind.

Balancing light and shade on this record, there is beauty and tension all wrapped up in Paul’s vivid and visceral, storytelling gift.

If 2022’s The Children Of Scorpio was the debut album that turned people onto the world of Project Gemini aka Paul Osborne, Colours & Light is the body of work that will be buried deep into their hearts. It is a majestic album, bringing together the worlds of folk rock, psych soundtracks and hazy cinematic funk.

A growing confidence and ease emanate from the writing and production of this sophomore LP, bolstered by the reception to his standout debut. “It’s a more layered and diverse record” Paul mentions, “with a more outward-looking, global sound, born out of the records I was listening to and the musicians I was lucky enough to collaborate with”. It feels relaxed yet self-assured, with a kaleidoscope of sounds that twist together in a mesmerising fashion.

The theme of the album developed naturally through the lyrics Paul began writing. A creative process both plagued and fed by insomnia, nourished by relationships, entwined in emotions, nights out, nights in and the after-effects on the human condition. Relatable themes yet seen through the prism of a soundscape that takes in many a different culture and scene. From acid folk to psych-funk, Francophile elements to Anatolian and Eastern inspirations, all interlocking and rotating as one.

Drawing inspiration from those he admires, Colours & Light radiates with collaborations. The title track, which tips its hat to a live 1973 TV version of Pentangle’s ‘Wedding Dress’, features the folk rock, guitar brilliance of Jack Sharp from Wolf People/Large Plants.

Elsewhere, two tracks are blessed by the sultry, smokey French vocals of Gloria’s Wendy Martinez, ‘Extra Nuit’ and ‘Entre chien et loup’. The former echoes Paul's love of classic French psych-pop from the late ’60s and early ’70s and artists such as Laurance Vanay, Calcium, Leonie, and Serge Gainsbourg. Martinez's sublime vocal work nestles perfectly within Paul's psych-folk-funk productions, as her Gloria partner, Alexis Morel (aka Kid Victrola) sprinkles a dose of entrancing guitar line magic on proceedings.

The list of collaborations extends further with Raz and Markey Funk, drummer Tony Coote and percussionist Paul Elliott all featuring. Regular collaborator and underground icon Barrie Cadogan (Little Barrie) returns along with Bert Page from The Cromagnon Band, who between them provide a hit of whacked-out, fuzzed-up country guitar and Moog madness respectively on ‘Lost In The Woods (Bacchanal)’.

Rounding off the record Paul’s daughter, Olivia Osborne, supplies the keyboard intro on the penultimate track ‘Twilight’. Dorian Conway from The Soundcarriers (whose bandmate Paul Isherwood returns on mixing duties) then layers echoing heavy flute parts to magically capture the psychedelic sunrise images brought to mind.

Balancing light and shade on this record, there is beauty and tension all wrapped up in Paul’s vivid and visceral, storytelling gift.

'starsdust' is an ambient album composed from the fragments of Runnner's 2023 album 'like dying stars, we're reaching out.' singles 'ten' and 'eleven' are glitchy, colorful moments of reflection stretched across a few meditative minutes. Runnner's noah weinman says on the creation of this release: "I made one rule for myself while making this record and it was that I wasn't allowed to record any new audio. Every sound on this album is a repurposed stem from Like Dying Stars, We're Reaching Out. I was allowed to pitch, flip, stretch, and chop anything I wanted, but everything had to begin from something already recorded for the last album. It started out as something fun to do in transit (and to alleviate my flight anxiety). I was doing a lot of solo touring at the time and my affinity for cheap Southwest Airlines flights meant a lot of layovers. I think I made the first three or four sketches either in the air or at the airport. I made the rest of the album during the spring of 2023 when I was mostly stuck in bed recovering from tearing my achilles tendon and the subsequent surgery. A project that seemed to perfectly fit my constraints. The initial process of making these songs was an attempt to remove myself from the process a bit. I'd (sort of) randomly choose stems from songs, like the bass from one track, the drums from another, and maybe find a banjo or piano loop from a third, and then throw them together. It usually made something chaotic at first, but the joy of the album was sifting through that initial cacophony and finding the kernel of the song to keep pursuing. Many attempts were abandoned, but the twelve featured here I consider to be my most fruitful endeavors. It was very exciting, scary, and rewarding to step outside of my wheelhouse on this record and I hope you ennnjoy it."

The latest in a prolific string of solo and collaborative releases by James Rushford, Turzets collects a pair of new works primarily created and recorded last year while the Australian composer-performer was in residence at La Becque, an art center on Lake Geneva in Switzerland. The side-length piece "Fallaway Whisk" explores hesitation in its many forms_reticence of speech, sonic restraint_using live, abstracted translations of text from English to German against a lush and swelling soundscape. On the flip side, "Quire" is a work in ten movements influenced by the composer's study of late medieval repertoire on portative organ, weaving the instrument's woodsy interlocking melodies with angelic Yamaha CS-80 synth sweeps and stuttering glitches. The combined effort is somewhat a departure for Rushford, working in traces of Klaus Schulze, concrete poetry, and ars subtilior into a precise and ever-unfolding tapestry. Rushford's work draws from a wide range of collagist and improvisatory musical languages, staking out an idiosyncratic stylistic space that has been variously described as "electro-acoustic experimentation with a beating heart" (Boomkat) and "haunted Jacobean ASMR" (The Wire). Investigating the creases, cracks, and folds in traditions ranging from early music to New Age, Rushford's work subtly exaggerates seemingly liminal aspects such as atmosphere and the bodily presence of the performer until these take on a weight equal to musical elements such as pitch, rhythm, and timbre. In recent years, Rushford's solo work has been guided by his theorization of sonic images, particularly the shadow, which has inspired pieces as diverse as an hour-long companion to Federico Mompou's 1959-67 piano cycle Música Callada (2016) and a sumptuous translation of the play of light across flat surfaces into synthetic sound (The Lake from the Louvers, Shelter Press, 2021). His long-standing performance practice for piano, portative organ, synthesizers, and electroacoustic devices, is constantly infused with a delicacy of touch and a harmonic sensibility in which unorthodox tunings coexist with influences from fin de siècle Impressionism, the twentieth century avant-garde, and popular musical structures. He has worked with a vast range artists including Klaus Lang, Annea Lockwood, David Behrman, Tashi Wada, Haroon Mirza, Dennis Cooper, Ora Clementi, crys cole, Oren Ambarchi, Kassel Jaeger, Will Guthrie, and Graham Lambkin. He has performed as Golden Fur (with Sam Dunscombe and Judith Hamann) and Food Court (with Joe Talia and Francis Plagne).

From the propulsive immediacy of the bass and drums’ taut groove, it’s clear something has changed in Broken Chanter's world. Thudding, powerful odes to the strength of collectivity and togetherness, David MacGregor’s Broken Chanter bristle with energy and empathy on their incendiary third album Chorus Of Doubt. Recorded (and produced) by Paul Savage over 2023’s spring and summer months in Chemikal Underground’s in-house studio Chem 19, Chorus Of Doubt is fuelled by a burning desire to resist an encroaching, global tide of misery, informed by a wide-eyed sense of solidarity and the searing truth that a universal humanity is the only path out of darkness.

Featuring frequent collaborators Charlotte Printer, Bart Owl and Martin Johnston, Broken Chanter’s world is populated by hope and vitriol rendered in ecstatic rock music, terse agit-Funk and soaring choruses.

The most immediate Broken Chanter record to date, Chorus Of Doubt is David MacGregor’s open love letter to never giving up, a personal road map out of collective lethargy.

Fabiana Palladino announces full details of her hotly anticipated self-titled debut album. The UK vocalist, songwriter, multi-instrumentalist and producer releases ‘Fabiana Palladino’ via Paul Institute / XL Recordings. Made in the wake of the end of a long relationship, the album is an intimate record that sees Fabiana Palladino confront complex questions about love, loneliness and normativity in relationships. The result is a 10-track full-length of shapeshifting sonics that draws inspiration from the big R&B, soul, pop and disco studio productions of the 1980s and 90s and filters them through a modern lens.

Written and self-produced by Palladino, the album features performances from renowned musicians and close friends including Paul Institute co-founder Jai Paul, her father and legendary session bassist Pino Palladino, brother and Yussef Dayes bassist Rocco Palladino, renowned drummer Steve Ferrone and strings from Rob Moose.

Speaking on the new music and forthcoming album, Fabiana Palladino says: “A central theme of the album is aloneness. Whether it’s a song where I’m searching for connection with someone else, or trying to embrace the aloneness, it tends to come back to me, who I am when I’m alone, what I feel when I really look inwards. I’d say it’s a pretty introspective record overall. The songs are often about trying to go deeper into yourself, exploring your true feelings and how they then relate to and affect your relationships with others